tag:blogger.com,1999:blog-71208436397097688932024-02-21T21:51:45.671+00:00Arte Norte AmericanaDiana V. Almeidahttp://www.blogger.com/profile/12089111453819072474noreply@blogger.comBlogger318125tag:blogger.com,1999:blog-7120843639709768893.post-62692029248003451452018-06-11T04:11:00.002+01:002018-06-11T04:19:05.266+01:00Alex Grey <div class="MsoNormal" style="line-height: 150%; tab-stops: 1.0cm 49.65pt; text-align: justify; text-indent: 14.2pt; text-justify: inter-ideograph;">
<span lang="PT" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Olá colegas! </span></div>
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<span lang="PT" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Espero que esta época de avaliações vos esteja a correr bem!</span></div>
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<span lang="PT" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Venho hoje partilhar uma das séries do artista Alex Grey, <i>Sacred Mirrors </i>(1979-89).</span></div>
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<span lang="PT" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">O artista estatunidense nasceu em
Coloumbus, Ohio a 29 de Novembro de 1953, no seio de uma família de classe
média, em que o seu pai, designer gráfico, o incentivou a trabalhar a sua
habilidade para o desenho. Frequentou a Columbus College of Art and Design entre
1971 a 1973, mas acabou por desistir e começou a pintar cartazes publicitário
entre o último ano mencionao e 1974. Muda-se para Boston entre 74-75, para
trabalhar como assistente do artista Jay Jaroslav, na School of the Museum of
Fine Arts.<o:p></o:p></span></div>
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<span lang="PT" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">As suas crenças eram agnósticas, mas em
1975 passa por uma experiência enteógena que acaba por o mudar e aqui conhece a
sua mulher, Allyson Rymland Grey. A experiência mística, induzida por LSD, acaba
por passar a crença de Alex Grey para um transcendentialismo radical. Trabalha,
também, no departamento de Anatomia da Havard Medical School, onde preparava os
cadáveres para dissecção; posteriormente passa para o departamento Medicina da
Mente/Corpo, conduzindo experiências científicas focadas em investigar as
energias curativas.<o:p></o:p></span></div>
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<span lang="PT" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">O seu trabalho mais conhecido é a série <i style="mso-bidi-font-style: normal;">Sacred Mirrors</i>,
onde apresenta um conjunto de vinte e uma peças. Nesta série apreende-se a passagem
ritual entre os vários estados da mente quando sob efeito de experiências
espirituais, como por exemplo a dos alucinogénios. Aqui, a primeira peça apresenta
o mundo material, onde aparece uma silhueta humana sobre a tabela periódica, a segunda
passa a um esqueleto e continua pela representação dos vários sistemas de órgãos
corpo até chegar à pele, onde representa algumas etnias. A partir daqui, os seguintes
quadros partem para o lado dos vários estados da mente à medida que o seu espírito
vai-se abrindo, até chegar à forma de um sol, em fundo preto – o mundo espiritual.
<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="PT" style="font-family: "arial" , "helvetica" , sans-serif;">A série começou em 1979 e terminou dez anos
depois.</span><span style="line-height: 150%; text-indent: 14.2pt;">Todos os elementos da história de Alex
Grey são parte integrente do seu trabalho. É impossível não ficar “hipnotizado”
pelo que a sua arte transparece. A conexão com a realidade espiritual, para a
tela, é totalmente perceptível e o próprio espectador consegue sentir, quando
observa as figuras humanas que são representadas em “raio-x”. Ganha-se também
a percepção das cores e figuras místicas que saem do corpo do mesmo, são a sua alma, espiríto e experiência transcendente.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="PT" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">As obras conseguem transmitir uma
espiritualidade palpável, a qual o espectador não fica indiferente.</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Para conseguirem ver as imagens, vejam o link em baixo:</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.alexgrey.com/art/paintings/sacred-mirrors/" target="_blank">Série Sacred Mirrors e biografia do artista Alex Grey</a> (consultado a 11 de Junho de 2018).</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Partilho aqui também a que mais me impressionou:</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.alexgrey.com/art/paintings/soul/" target="_blank">Série Progress of the Soul</a> (consultado a 11 de Junho de 2018).</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Rafaela R. N. R. de Faria nº 147497</span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7120843639709768893.post-89812692903268141852018-06-03T22:29:00.001+01:002018-06-04T16:43:15.288+01:00The Hands Resist Him.<div style="text-align: justify;">
<span style="font-family: "trebuchet ms" , sans-serif;">Venho partilhar com a turma esta obra um tanto quanto inquietante de Bill Stoneham. Devido à ligação deste quadro com a morte de três pessoas desde 1974 várias comunidades da internet tentam ainda hoje desvendar os seus mistérios.</span></div>
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<img height="640" src="https://files.incrivel.club/files/news/part_17/179010/3277110-14707400750060-1481614881-650-719ecc4ec9-1482540094.jpg" width="433" /></div>
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<i>The Hands Resist Him</i> de Bill Stoneham, 1974</div>
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<span style="font-family: "trebuchet ms" , sans-serif;">O artista inspirou-se numa fotografia de si mesmo tirada pelos pais na sua infância. Descreve a boneca da pintura como uma guia para um mundo fantástico de sonhos, sendo a porta atrás da criança o portal para este mundo. As mãos simbolizam diversas possibilidades e vidas alternativas dentro desta misteriosa dimensão.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Esta foi exposta na galeria <i>Feingarten Gallery</i></span><span style="font-family: "trebuchet ms" , sans-serif;"> em Beverly Hills, tendo sido mais tarde comprada pelo ator John Marley. Alguns anos após a sua morte o quadro foi encontrado numa cervejaria pertencente a um casal idoso na Califórnia, descrição que constava no vendedor desta peça no eBay, comprada por </span><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;">$1,025.00</span><span style="font-family: "trebuchet ms" , sans-serif;"> pela galeria </span><i style="font-family: "Trebuchet MS", sans-serif;">Perception Gallery</i><span style="font-family: "trebuchet ms" , sans-serif;"> em Michigan.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">A galeria entrou em contacto com Bill Stoneham para falar um pouco sobre a história e o mistério que rondam este quadro. O autor, surpreso com toda a repercussão que a obra originou na internet, revelou que tanto o dono da galeria como o crítico que a analisou morreram um ano depois de se envolverem com a mesma.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Convido-vos tanto a fazerem uma pesquisa aprofundada da obra se for do vosso interesse como a comentarem a vossa própria interpretação da mesma.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Post realizado por: Alexandre Pires 151033</span><br />
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<span style="font-family: "trebuchet ms", sans-serif;"><span style="font-size: x-small;">Fontes:</span></span><br />
<span style="font-family: "trebuchet ms", sans-serif;"><span style="font-size: x-small;">https://www.dailydot.com/irl/hands-resist-him-haunted-ebay-painting/</span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7120843639709768893.post-46323075961166463852018-06-03T21:01:00.001+01:002018-06-03T21:06:38.087+01:00Charles James - Sexualizando o Vestir?<span style="font-size: large;">Boa noite,</span><br />
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<span style="font-size: large;"> Deixo-vos abaixo um post que simultaneamente atenta à obra de um dos designers de moda mais influentes do século XX e menciona uma artista que recorrentemente mencionámos em aula. Escolhi, assim, falar de Charles James (1906-1978) e s</span><span style="font-size: large;">umariamente introduzir uma ligação interpretativa entre a sua obra e a de Georgia O'Keeffe (1887-1986).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimVLkKV7Ef5GRUphS7e-9ERwJ_0w8zcO_2MWu5v5X_Qd2Z1z37DK-4rKYNTIlnmPb8gFY-LUqOSvALObcdUrxxnktkL1Laf-Yg10MsvLv76Ayesfh20AxZQyMzhZWa2bccJ91XK_sYGpVf/s1600/charles-james-beyond-fashion.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1013" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimVLkKV7Ef5GRUphS7e-9ERwJ_0w8zcO_2MWu5v5X_Qd2Z1z37DK-4rKYNTIlnmPb8gFY-LUqOSvALObcdUrxxnktkL1Laf-Yg10MsvLv76Ayesfh20AxZQyMzhZWa2bccJ91XK_sYGpVf/s320/charles-james-beyond-fashion.jpg" width="252" /></a></div>
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<b>Fig. 1: </b>Retrato fotográfico de Charles James, Cecil Beaton, 1936, reprodução cortesia dos curadores do MET.</div>
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<span style="font-size: large;"> Charles James (1906-1978), de nacionalidade Inglesa, foi produtor ativo nos EUA entre os anos finais da década de 20 e os finais dos anos 50 do século passado - com raras exceções. </span><br />
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<span style="font-size: large;"> Demonstrando desde cedo uma afinidade pelo design de têxteis, este viria a adquirir conhecimentos formais das áreas de engenharia e arquitetura durante uma breve estadia no departamento arquitetónico de Commonwealth Edison, em 1924 (Koda, H; Reeder, J.G, Charles James: Beyond Fashion, p. 18). Seriam estes mesmos conhecimentos que, traduzidos em tecido, confeririam às suas peças de vestuário - principalmente aquelas produzidas entre os finais da década de 40 e meados da década de 50 - uma estruturalidade excecionalmente complexa. As suas peças - algumas das quais abaixo figuradas - possuém assim silhuetas que, no seu construír e exacerbar de uma silhueta feminina idealizada, são também detentoras de uma presença e dramatismo difereciadores.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7eyuBKLvwDU4KDqnxeWZ7JMyOC_EtEVLe-mG9caEl96su0jMU7s_1jQMxzY2JWvXFNG_SmU8nk7L_kdLf0KX2MTSC2IIF5hu-cH6GtcFJmz9R6ai62XM2Bwqyc_6nEkP41EEGhCR-P7J3/s1600/forceofnature-p87.31.11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="250" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7eyuBKLvwDU4KDqnxeWZ7JMyOC_EtEVLe-mG9caEl96su0jMU7s_1jQMxzY2JWvXFNG_SmU8nk7L_kdLf0KX2MTSC2IIF5hu-cH6GtcFJmz9R6ai62XM2Bwqyc_6nEkP41EEGhCR-P7J3/s400/forceofnature-p87.31.11.jpg" width="266" /></a></div>
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<span style="font-size: small;"><b>Fig. 2: </b>Vestido <i>Tree </i>e estola <i>Pétalas</i>, </span>Charles James 1955, fotografia cortesia <span style="font-size: small;">dos</span> curadores do Fashion Institute of Technology.</div>
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<span style="font-size: large;"> Olho agora o ponto que une ambos os artistas em questão, isto é, as interpretações sexualizantes a que as suas obras foram sujeites. </span><br />
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<span style="font-size: large;"> Atentando às peças acima figuradas não se podem deixar de notar, em primeiro instante, a uma saia que segue, acentua, a linha das ancas - tidos geralmente como símbolo de fertilidade - apenas para se alargar e"enraizar" (interpretação para a qual o título do vestido se inclina) no solo onde a sua usuária caminharia. Se vertermos os olhos de seguida para o topo do vestido, bem como para a estola que lhe acompanha, presenciamos ainda um "brotar" de elementos sugestivos de organicidade. Ocorrendo esta última na zona dos seios da mulher que lhe veste, é-nos transmitido de novo uma sugestão de fertilidade feminina. </span><br />
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<span style="font-size: large;"> Assumindo o caráter performativo do ato de vestir, é passível que lancêmos sobre a obra de Charles James - de que as peças mencionadas servem apenas como exemplo - interpretações que assentem na ideia da mulher como portadora de papéis sociais fortemente aliados ao ato reprodutivo, idealogização de ato - recordando o uso anterior de "enraizar" - que seria instrumental na perpetuação da sociedade patriarcal da época. Refiro agora que não pretendo necessariamente salientar na obra de James qualquer intencionalidade a este efeito.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbxNvEs_jK7zLsfeh-rEaKIymEK_PnsDMhgIHX471jqU-lIl-AzNlZ6Y0yOON-ry0J5IHlD4VpRzHjBSm08_N7a21UfuVO6U6Rd5olrN-E_AjosHranURBj-wGkZYpbOKCUgYsfi8oU9D6/s1600/45552.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="355" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbxNvEs_jK7zLsfeh-rEaKIymEK_PnsDMhgIHX471jqU-lIl-AzNlZ6Y0yOON-ry0J5IHlD4VpRzHjBSm08_N7a21UfuVO6U6Rd5olrN-E_AjosHranURBj-wGkZYpbOKCUgYsfi8oU9D6/s320/45552.jpg" width="205" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><b>Fig. 3: </b></span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif;"><i>Grey Lines with Black, </i></span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif;"><i>Blue and Yellow</i>, Georgia </span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif;">O'Keeffe, c. 1923, reprodução </span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif;">fotográfica cortesia dos curadores </span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif;">do MET.</span></div>
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<span style="font-size: large;"> Fazendo agora menção à artista visual mencionada nos parágrafos inaugurantes deste post, digo agora que às ligações visuais que se podem estabelecer com a obra de Georgia O'Keeffe - em particular entre obras como </span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif; font-style: italic;"><span style="font-size: large;">Grey Lines with Black, </span></span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif; font-size: large;"><i>Blue and Yellow </i>de cerca de 1923 e vestidos como o abaixo figurado - se acrescem paralelos relativos às interpretações sexualizantes que ambas as obras receberam. Tomando como exemplos as obras figuradas imediatamente acima e abaixo, e seguindo a linha interpretativa acima mencionada, refere-se que ambas seriam passivelmente ligadas a</span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif; font-size: large;"> interpretações que as tomariam como representando lábios (genitais). </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr_mNjAfEYCZuuUWZDepf5Fe_rsAquZX7mauhJvOyKA6VDUeVp6SEA41b8Vz1xGdGJkeSgr9KyMhnPSHS5dFQgJxBa_Hwkb7aSwrRJdPzQdvqmPXHcIMnzMz9P4Rh6PrK7P0vBADfqWQ2X/s1600/tumblr_p919ugpVev1tphleno1_540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="712" data-original-width="534" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr_mNjAfEYCZuuUWZDepf5Fe_rsAquZX7mauhJvOyKA6VDUeVp6SEA41b8Vz1xGdGJkeSgr9KyMhnPSHS5dFQgJxBa_Hwkb7aSwrRJdPzQdvqmPXHcIMnzMz9P4Rh6PrK7P0vBADfqWQ2X/s320/tumblr_p919ugpVev1tphleno1_540.jpg" width="240" /></a></div>
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<span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif;"><b>Fig. 4: </b><i>Ball Gown </i>de Charles James,</span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif;"> 1948, fotografia cortesia dos curadores </span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif;">do MET.</span></div>
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<span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif; font-size: large;"> No caso da obra - falando agora em sentido lato - de O'Keeffe, tal como foi amplamente falado em aula, as interpretações acima referidas - aliadas à leitura "mulher-natureza" nela perpetuada por Steiglitz - foram pela artista mal-recebidas. Não encontrei, até agora, uma citação revelatória da posição de James em relação às interpretações sexualizantes da sua obra. Penso, aliás que estas sejam relativamente recentes - ou pelo menos, que a sua presença alargada o seja. No entanto, a fim de deixar esta questão em aberto, deixo a seguinte sua citação, </span><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: #fefefe;">"</span><span style="background-color: white;">My dresses help women discover figures they didn't know they had." e a pergunta "Quais eram estas figuras que ele lhes sabia ser verdadeiras e como é que ele lhes assumia?".</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white;"><br /></span></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white;"> Feito isto, e como extensão da vossa própria interpretação, sugiro a leitura do artigo de Christopher Harrity - cujo link está abaixo incluído - e que faz um breve comentário a uma faceta da produção artística de Charles James que se manteve inexplorada neste post.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white;"><br /></span></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="background-color: white;"> Boa época de avaliações!</span></span><br />
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<span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span>
<span style="font-size: large;"><b>Referências webgráficas:</b></span><br />
<ul>
<li><span style="font-size: large;">Beaton, C. <i>Charles James. </i>Disponível em: https://agnautacouture.files.wordpress.com/2013/12/3-charles-james-photo-cecil-beaton-1929-high-res.jpg Acedido a 1 de Junho de 2018;</span></li>
<li><span style="font-size: large;">Curadores de Fashion Institute of Technology. <i>Tree Evening Dress and Petal Stole.</i> Disponível em: http://www.fitnyc.edu/museum/images/forceofnature-p87.31.11.jpg Acedido a 23 de Maio de 2018;</span></li>
<li><span style="font-size: large;">Curadores de The Metropolitan Museum of Art. <i>Ball gown.</i> Disponível em: https://images.metmuseum.org/CRDImages/ci/web-large/54.141.94_CP3.jpg Acedido a 28 de Maio de 2018;</span></li>
<li><span style="font-size: large;">Curadores de The Museum of Fine Arts, Houston. </span><span style="font-size: large; font-style: italic;">Grey Lines with Black, </span><span style="background-color: #fefefe; font-family: "times" , "times new roman" , serif; font-size: large;"><i>Blue and Yellow. </i>Disponível em: </span><span style="font-family: "times" , "times new roman" , serif; font-size: large;">https://static.mfah.com/collection/45552.jpg?maxWidth=550&maxHeight=550&format=jpg&quality=90</span></li>
<li><span style="font-size: large;">Harrity, C. <i>In the Galleries: The Erotic Tension of Charles James. </i>Disponível em: https://www.advocate.com/arts-entertainment/art/2014/09/23/galleries-erotic-tension-charles-james?pg=2#article-content Acedido a 30 de Maio de 2018;</span></li>
<li><span style="font-size: large;">James, C. Quote. Disponível em: http://www.azquotes.com/quote/923648 Acedido a 28 de Maio 2018;</span></li>
<li><span style="font-size: large;">Koda, H; Reeder, J.G. <i>Charles James: Beyond Fashion.</i> Disponível em: https://books.google.pt/books?id=B22DAwAAQBAJ&pg=PA18&lpg=PA18&dq=charles+james+samuel+insull+architecture&source=bl&ots=hYiCmMzNYm&sig=Il_tdm5eXaMafo29AYs0mwA123Y&hl=pt-PT&sa=X&ved=0ahUKEwin8aX297fbAhVIWBQKHUXkDdsQ6AEITjAJ#v=onepage&q=charles%20james%20samuel%20insull%20architecture&f=false Acedido a 26 de Maio de 2018;</span></li>
<li><span style="font-size: large;">Smith, R. <i>Charles James: 'Beneath the Dress'.</i> Disponível em: https://www.nytimes.com/2014/10/03/arts/design/charles-james-beneath-the-dress.html Acedido a 1 de Junho de 2018;</span></li>
<li><span style="font-size: large;">Smith, R. <i>Where Elegance Meets Eros. </i>Disponível: https://www.nytimes.com/2014/05/09/arts/design/charles-james-beyond-fashion-a-retrospective-at-the-met.html Acedido a 29 de Maio de 2018.</span></li>
</ul>
<b><span style="font-size: large;"><br /></span>
</b><span style="font-size: large;"><b> Post realizado por:</b> Lily Farlan Kingston Chadwick - nº145710</span><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7120843639709768893.post-55931512307605346632018-05-31T15:54:00.001+01:002018-06-27T21:32:30.701+01:00"Tulsa", de Larry Clark<div style="text-align: justify;">
Lawrence Donald Clark (1943-) é um fotógrafo e cineasta
americano, conhecido por representar nos seus trabalhos jovens
em atos de violência, usando de drogas ou envolvidos em práticas sexuais. O seu trabalho mais
conhecido é o filme<i style="mso-bidi-font-style: normal;"> Kids</i>, de 1995.<o:p></o:p></div>
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O álbum <i style="mso-bidi-font-style: normal;">Tulsa</i> reúne um conjunto de fotografias a preto e branco retratando a vida dos jovens
em Tulsa, Oklahoma. A sua publicação em 1971 "causou sensação na
comunidade fotográfica", levando a um novo interesse pelo trabalho
autobiográfico. Clark era viciado em drogas durante o período em que tirou as
fotografias e <span lang="EN-US" style="mso-ansi-language: EN-US;">na introdução à obra faz a seguinte declaração:<o:p></o:p> "I was
born in Tulsa, Oklahoma in 1943. When I was 16, I started shooting amphetamine.
I shot with my friends every day for three years and then left town, but I've
gone back through the years. Once the needle goes in, it never comes out".</span></div>
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<i style="mso-bidi-font-style: normal;">Tulsa </i>continua a
ser o seu livro mais visceral, pois dá-nos a visão de alguém
que está por dentro dos loucos anos 1960, o que acabou por conferir uma
grande autenticidade ao seu trabalho.<o:p></o:p></div>
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Deixo aqui algumas imagens desta obra.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQuctWN5OrIzbaTT44KHRKiu7uuJbJJmLEtmlT0ddREoD8dEdeijS0ZApaZr8UQf_mGkr903vCx34uppWuziILRYl99IEIoXnHxbk4QLNjF5uYUP7dDk0sMbXFlANTO5_oniyEYwBBL64h/s1600/100043_6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="938" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQuctWN5OrIzbaTT44KHRKiu7uuJbJJmLEtmlT0ddREoD8dEdeijS0ZApaZr8UQf_mGkr903vCx34uppWuziILRYl99IEIoXnHxbk4QLNjF5uYUP7dDk0sMbXFlANTO5_oniyEYwBBL64h/s320/100043_6.jpg" width="214" /></a></div>
<h1 id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_artworkTitle" style="background-color: white; box-sizing: border-box; color: #333333; display: inline; font-family: HelveticaNeue, Helvetica, Arial, sans-serif; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; letter-spacing: 1px; line-height: 18px; margin: 0px;">
<span style="box-sizing: border-box; font-family: "helveticaneueit" , "helvetica" , "arial" , sans-serif;"><i>Billy with Baby</i></span><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_artworkYear" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "helveticaneue" , "helvetica" , "arial" , sans-serif; font-size: 12px; letter-spacing: 1px;">. </span></h1>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimgprm2yfuLr0jQ-_IxHFg_FJgFsT0-PeDd7tIg0fNJLD-mbX5Ns9syskSmbFWeFs8Gg-ZeS1ePFJeBITET-ffiA__HYDrqyUdRdKWcydciO3cWQQfqTsMwZls95A3HULteMIvVdiyMPAX/s1600/Larry-Clark-001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="460" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimgprm2yfuLr0jQ-_IxHFg_FJgFsT0-PeDd7tIg0fNJLD-mbX5Ns9syskSmbFWeFs8Gg-ZeS1ePFJeBITET-ffiA__HYDrqyUdRdKWcydciO3cWQQfqTsMwZls95A3HULteMIvVdiyMPAX/s320/Larry-Clark-001.jpg" width="252" /></a></div>
<span style="background-color: white; color: #767676; font-family: "guardian text sans web" , "helvetica neue" , "helvetica" , "arial" , "lucida grande" , sans-serif; font-size: 12px;"><i>Dead, </i></span><span style="background-color: white; color: #767676; font-family: "guardian text sans web" , "helvetica neue" , "helvetica" , "arial" , "lucida grande" , sans-serif; font-size: 12px;">1970</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR6kBYsMiUBT2jUQRCA-B2oUELWOCfDruL2LfcTdiCKl4FvfNvVTiwlEJuiFNfmjXN98DBFG3BB-lPM27PTO5ZK1CL6k6iQfbjCntT6cp8Ws6Nl5Xrh2L5EQUuOugS1f44oaCGyPXSRSUu/s1600/TulsaTeenage-Lust-Larry-C-009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="276" data-original-width="460" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR6kBYsMiUBT2jUQRCA-B2oUELWOCfDruL2LfcTdiCKl4FvfNvVTiwlEJuiFNfmjXN98DBFG3BB-lPM27PTO5ZK1CL6k6iQfbjCntT6cp8Ws6Nl5Xrh2L5EQUuOugS1f44oaCGyPXSRSUu/s320/TulsaTeenage-Lust-Larry-C-009.jpg" width="320" /></a></div>
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<h1 id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_artworkTitle" style="background-color: white; box-sizing: border-box; color: #333333; display: inline; font-family: HelveticaNeue, Helvetica, Arial, sans-serif; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; letter-spacing: 1px; line-height: 18px; margin: 0px;">
<span style="box-sizing: border-box; font-family: "helveticaneueit" , "helvetica" , "arial" , sans-serif;"><i>Jack and Lynn Johnson</i>, Oklahoma City<span style="font-family: "helveticaneue" , "helvetica" , "arial" , sans-serif;">, </span></span><span id="ctl00_mainContentPlaceHolder_ucArtworkArea_repArtworkDetails_ctl00_ucArtworkDetailsControl_artworkYear" style="background-color: white; box-sizing: border-box; color: #333333; font-family: "helveticaneue" , "helvetica" , "arial" , sans-serif; font-size: 12px; letter-spacing: 1px;">1973</span></h1>
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<span style="background-color: white; box-sizing: border-box; color: #333333; font-family: "helveticaneue" , "helvetica" , "arial" , sans-serif; font-size: 12px; letter-spacing: 1px;"><br /></span>
<span style="background-color: white; box-sizing: border-box; color: #333333; font-family: "helveticaneue" , "helvetica" , "arial" , sans-serif; font-size: 12px; letter-spacing: 1px;">Ana Catarina Nunes, 139071</span>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-26473939410750662112018-05-30T21:06:00.000+01:002018-06-28T02:19:21.334+01:00Pop Art no mundo da Moda<div style="box-sizing: inherit; color: #505050; letter-spacing: 0.23999999463558197px; line-height: 28px; margin-bottom: 1.55rem; padding: 0px; text-align: justify; text-rendering: optimizelegibility; word-spacing: 0.01600000075995922px;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="color: #222222; line-height: 22px;">A</span><span style="color: #222222; line-height: 22px;"> Pop Art foi</span><span style="color: #222222; line-height: 22px;"> um</span><span style="color: #222222; line-height: 22px;"> movimento artístico surgido no final da </span><span style="color: #222222; line-height: 22px;">década de 1950, em Inglaterra, que alcançou o seu auge na década de 1960, nos Estados Unidos. </span><span style="color: #222222; line-height: 22px;">Inspirados n</span><span style="color: #222222;"><span style="line-height: 22px;">a estética das massas, estes artistas problematizavam a cultura popular de consumo, realizando uma ruptura com os valores elitistas da sociedade, e abraçando as experiências mundanas, através do uso de imagens publicitárias. </span></span></span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small; line-height: 22px;">A Pop Art é, pois, </span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small; line-height: 22px;">considerada um marco importante na transição da modernidade para o pós-modernismo.</span><span style="color: #505050; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="letter-spacing: 0.23999999463558197px; line-height: 28px; word-spacing: 0.01600000075995922px;"> </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="letter-spacing: 0.23999999463558197px; line-height: 28px; word-spacing: 0.01600000075995922px;">Andy Warhol, é provavelmente o primeiro ícone de Pop Art, tornando-se uma figura influente no mundo da moda. Ele iniciou sua carreira como ilustrador de moda, tendo trabalhado para revistas como a <i>Glamour</i>, a <i>Mademoiselle</i> e a <i>Vogue</i>. Warhol foi também um dos primeiros artistas a transformar a sua arte em itens de moda. Assim Pop Art sofreu influências da cultura popular e posteriormente a moda (alta costura) entrou em cena com itens produzidos em massa (consumismo e mediatização).</span> </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Posteriormente, Yves Saint Laurent foi um dos primeiros estilistas a estabelecer este diálogo, quando lançou o vestido Mondrian, na sua coleção intitulada “Pop Art” (</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Outono/Inverno, 1966)</span>. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgPfS_wih1KiU-vB1Vqwi28BcDmmlyXqmohhUJVZEvlPUFKhPhjl3EivW0a_FUxw0t4UrqHJSDaIum2_I53dGOdExD0wgDoi3PZfWLXMvciN1sgi0Jp6aXyGjm6VHTEROwsYghvzN4rE39/s1600/254db064fce96477d297dd94c3e29da6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgPfS_wih1KiU-vB1Vqwi28BcDmmlyXqmohhUJVZEvlPUFKhPhjl3EivW0a_FUxw0t4UrqHJSDaIum2_I53dGOdExD0wgDoi3PZfWLXMvciN1sgi0Jp6aXyGjm6VHTEROwsYghvzN4rE39/s400/254db064fce96477d297dd94c3e29da6.jpg" width="262" /></a></div>
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<b><span style="font-family: "courier new" , "courier" , monospace; font-size: xx-small;">fig.1 - <span style="background-color: white; letter-spacing: -0.4000000059604645px; line-height: 19px;">The Mondrian Dress by Yves Saint Laurent, 1966</span></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Também, Gianni Versace que utilizou uma gravura de Marilyn Monroe na estampa temática dos seus vestidos e, Christian Dior que lançou uma coleção inspirada nos esboços dos calçados de Warhol.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDx7fWwlsWyBowqBHVHhh_S0CAgqV24fpQ_sagEy5l6NBpjZnbEBEfLAUdP2OtQCS5XSxNGyqLuaZh45FfSrSZeZP_1rR87uThqn4b2VWua3_nNa_B8nZgvQg7td_Tzfara7Z8ax5PCSEz/s1600/Versace_Spring-Summer_1991_Marylin_Monroe_%2526_James_Dean_print_bag.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: xx-small;"><img border="0" data-original-height="600" data-original-width="511" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDx7fWwlsWyBowqBHVHhh_S0CAgqV24fpQ_sagEy5l6NBpjZnbEBEfLAUdP2OtQCS5XSxNGyqLuaZh45FfSrSZeZP_1rR87uThqn4b2VWua3_nNa_B8nZgvQg7td_Tzfara7Z8ax5PCSEz/s400/Versace_Spring-Summer_1991_Marylin_Monroe_%2526_James_Dean_print_bag.jpg" width="340" /></span></a></div>
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<b><span style="font-family: "courier new" , "courier" , monospace; font-size: xx-small;">fig.2 - Versace, Spring-Summer, 1991</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLcvBsA0OyW1lFnaVRGV3P0RzDmT2U6izz_shFcCIsYPhiws2RZ7XvtiL5cFHlUkACFMpJdzW1LMz21FPCnxI4yXWEU5hsxQWMmBpOFrIbW4if0UBtZUztDZoyAqsr2JEuiRplRwi6qiol/s1600/Dior-Andy-Warhol.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="1154" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLcvBsA0OyW1lFnaVRGV3P0RzDmT2U6izz_shFcCIsYPhiws2RZ7XvtiL5cFHlUkACFMpJdzW1LMz21FPCnxI4yXWEU5hsxQWMmBpOFrIbW4if0UBtZUztDZoyAqsr2JEuiRplRwi6qiol/s400/Dior-Andy-Warhol.jpg" width="400" /></a></div>
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<b><span style="font-family: "courier new" , "courier" , monospace; font-size: xx-small;">fig.3 - <span style="line-height: 1.45; text-align: center;">Dior – Coleção de bolsas e sapatos inspirados em Andy Warhol</span></span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Trabalho realizado por: </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Beatriz</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> Catarino Ferreira (Nº146074)</span></div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7120843639709768893.post-14925802026355651652018-05-30T13:43:00.000+01:002018-06-28T02:07:21.519+01:00De obra censurada a exposta<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitrsSiowiYik_u1AIlVQBAFEr-nzyasZmxFwFEOqufGP5BnHBLo6TFbprc2PMWacZq3GfHjFrwmBl4DM5YR7S2ptcx1drxJ-kWmQnUM8Gm7rWPR4_3t37_WJXJCJyxy2kLfPkUJkM9zGz_/s1600/20170929-PST-Uncensoring-Barbara-Carrasco-Union-Station.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="373" data-original-width="675" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitrsSiowiYik_u1AIlVQBAFEr-nzyasZmxFwFEOqufGP5BnHBLo6TFbprc2PMWacZq3GfHjFrwmBl4DM5YR7S2ptcx1drxJ-kWmQnUM8Gm7rWPR4_3t37_WJXJCJyxy2kLfPkUJkM9zGz_/s640/20170929-PST-Uncensoring-Barbara-Carrasco-Union-Station.jpg" width="640" /></a></div>
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<span style="font-size: xx-small;"><span style="background-color: white; color: #999999;"><b style="text-size-adjust: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Barbara Carrasco,<span class="Apple-converted-space"> </span><i>L.A. History: A Mexican Perspective</i>, 1981 </span></b></span><span style="background-color: white; color: #999999;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Acrílico sobre painéis de madeira e Masonite 16–20 x 80 pés</span></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Olá a todos, venho partilhar convosco um mural que a <span style="background-color: white; caret-color: rgb(0, 0, 0);">cidade de Los Angeles recuperou e que esteve censurado cerca de quatro décadas. </span><span style="background-color: white; caret-color: rgb(0, 0, 0);">A obra foi criada pela artista <a href="https://en.wikipedia.org/wiki/Barbara_Carrasco" target="_blank">Barbara Carrasco</a> para comemorar o bicentenário da cidade de Los Angeles em 1981, mas acabou por não ser exposta, pois apresentava a história da cidade de um ponto de vista considerado à época "demasiado mexicano." A decisão, por exemplo, de mostrar o rosto de Biddy Mason, o último escravo de Los Angeles, também, não foi bem recebida na época. </span></b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="background-color: white; caret-color: rgb(0, 0, 0);"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span style="background-color: white; caret-color: rgb(0, 0, 0);">Barbara
Carrasco nunca imaginou, que a sua obra iria ser apanhada num conflito
entre a versão institucional da história de Los Angeles e o seu ponto de
vista feminino como chicana. No entanto, </span></b></span>a censura falou mais alto e a artista foi convidada a eliminar o conteúdo considerado sensível. </span><span style="background-color: white; caret-color: rgb(0, 0, 0);">Porém, Carrasco recusou-se a apagar as imagens - 14 no total - que agora podem ser vistas no Museu de História Natural de Los Angeles. </span></b></span></div>
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<tr><td style="text-align: center;"><img border="0" data-original-height="1024" data-original-width="764" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBGr8_Y2mXYDhwrkwR5blqaQafeKaw945S7yVocmGS-CzRRUYPekbtLmc3x-GoJAJai9MgSUkAWuhTw_KrdtxXs9Tg2NdebAv5JvDUQiQLcKegCXPJVaFRVrw-XVCMizuqcbKBSKIV8QfK/s400/Carrasco_009-JPEG-764x1024.jpg" style="margin-left: auto; margin-right: auto;" width="297" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="clear: left; font-size: small; margin-bottom: 1em; margin-right: 1em;"><span style="color: #999999;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small; text-align: left;">A a</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small; text-align: left;">rtista </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small; text-align: left;">Yreina Cervante </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small; text-align: left;">a pintar uma secção do mural 1981</span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimcYPNcnF4LEk-LGIaoHxK0AF_TrPvq-N6mAZMjwnzehAlI7p-a6XmVYw19wravZOCtUzoaJcBzZDaFLhXZDf3-9KvDwuqK691X4Ge3okkDuZIY9DVfFUGTvp-h9Aa4XNeGZy9nOPxsDfV/s1600/Carrasco_023-JPEG-725x1024.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="725" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimcYPNcnF4LEk-LGIaoHxK0AF_TrPvq-N6mAZMjwnzehAlI7p-a6XmVYw19wravZOCtUzoaJcBzZDaFLhXZDf3-9KvDwuqK691X4Ge3okkDuZIY9DVfFUGTvp-h9Aa4XNeGZy9nOPxsDfV/s400/Carrasco_023-JPEG-725x1024.jpg" width="281" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small;">Grupo de jovens a pintar secções do mural, 1981</span></td></tr>
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<span style="color: #999999; font-family: "hind siliguri"; font-size: 11px; text-align: center;"> </span><span style="color: #999999; text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small;"><br /></span></span>
<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Fontes </span></b><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><b><a href="http://pt.euronews.com/2018/03/08/los-angeles-acolhe-mural-sem-censura-" target="_blank">http://pt.euronews.com/2018/03/08/los-angeles-acolhe-mural-sem-censura-</a></b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><b><a href="http://muralesrebeldes.org/la-history/" target="_blank">http://muralesrebeldes.org/la-history/</a></b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><b><a href="https://nhm.org/site/explore-exhibits/special-exhibits/sin-censura#" target="_blank">https://nhm.org/site/explore-exhibits/special-exhibits/sin-censura#</a></b></span><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Rute Ventura nº 146116</span></b>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-16284859050118031192018-05-29T02:59:00.000+01:002018-06-28T02:01:43.250+01:00Marina Abramović e 1 Milhão de Volts<div style="text-align: justify;">
<span style="background-color: white; color: #333333; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">"You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear, the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience: I'm your mirror; if I can do this in my life, you can do it in yours."</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbpxpViXRT7KRsK3GOHoQVfwjWAmMw2ey_aKe3xEyRVjZExspy1pbiF6kTYHj22m6CNDiGlk449sMUWxLxYJsa3LsCa2qzE6hbPuhL8IFkIlnfHgGcunRSIrXUsyk_baVyOWxb3j9Mmddv/s1600/cfa6adc094cd901a68ab79842674e003.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="403" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbpxpViXRT7KRsK3GOHoQVfwjWAmMw2ey_aKe3xEyRVjZExspy1pbiF6kTYHj22m6CNDiGlk449sMUWxLxYJsa3LsCa2qzE6hbPuhL8IFkIlnfHgGcunRSIrXUsyk_baVyOWxb3j9Mmddv/s320/cfa6adc094cd901a68ab79842674e003.png" width="257" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photograph by Ruven Afanador</td></tr>
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A artista Marina
Abramović, com 71 anos, é uma referência mundial, conhecida por ter chocado o
mundo com as suas performances, ao longo da sua vasta carreira. A sua arte desafia
diretamente o público com audácia: deu liberdade ao público a intervir no seu
corpo com um conjunto de objetos incluindo uma arma carregada (<i>Rhythm 0</i>,
1974); cortou a própria barriga com uma lâmina de barbear e chicoteou-se (<i>Thomas Lips</i>, 1975). Como a artista afirma na citação acima transcrita, a essência do seu trabalho é a partilha da
“experiência” entre público e artista. A performance surgiu em 1960 como um
desafio à pintura e é uma forma de arte onde o <i>medium</i> é o corpo, sendo que
Marina Abramović usa o corpo para expor opiniões violentas ou provocatórias.<o:p></o:p></div>
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<u1:p> </u1:p> <o:p><br /></o:p></div>
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O mês passado, ao consultar o site <i>The Times</i>, deparei-me com mais uma notícia, chocante (ou não!) da
artista — em 2020 esta irá ser eletrocutada com uma carga de um milhão de volts,
com o intuito de apagar uma simples vela.<o:p></o:p> Outra novidade, não menos
chocante, é que, em 250 anos, esta será a primeira mulher artista admitida na galeria principal da
Royal Academy. Uma vez mais Marina Abramović vai pôr em prática a
sua capacidade de chocar o público, com uma performance que coloca em risco a
própria vida.<o:p></o:p></div>
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Convido todas e todos a
lerem a <a href="https://www.thetimes.co.uk/article/shock-of-the-new-royal-academy-artist-to-be-charged-with-1m-volts-fbdvfrkxr">notícia</a>, para ficarem a saber mais pormenores acerca desta performance, deixo ainda um <a href="https://www.tugaflix.com/Filme?F=2073029" target="_blank">link</a> para
um documentário interessantíssimo acerca da performance "The Artist is
Present", realizada no Museum of Modern Art de Nova Iorque, em 2010.<o:p></o:p></div>
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Bom estudo :)</div>
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Isabel Da Silva</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-65750054743331271332018-05-28T22:21:00.004+01:002018-06-28T00:43:28.462+01:00Dois livros = Dois Guias<div style="text-align: center;">
Olá colegas!!</div>
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Venho partilhar hoje dois livros que encontrei, um sobre os Estados Unidos da América nos anos 1960 e outro sobre Andy Warhol, escrito por Klaus Honnef.</div>
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O primeiro livro chama-se <i>The Columbia Guide to America in the 1960s</i>, de David Farber e Beth Bailey. Trata-se de um guia completo sobre a cultura, economia, política e sociedade norte-americanas, dividido por capítulos com títulos concisos, o que facilita bastante a pesquisa, sendo, para mais, a linguagem usada bastante acessível. Podemos aqui encontrar diversos tópicos discutidos nas aulas, como a contra-cultura juvenil, os movimentos dos direitos civis, entre outros assuntos, facilitando o nosso conhecimento sobre o contexto da década de 1960.</div>
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Outro livro que poderá ser útil é <i>Andy Warhol 1928-1987 Commerce into art, </i>de Klaus Honnef. O autor dá-nos a conhecer a vida do artista, sempre envolta num grande mistério, o que nos ajuda a perceber certos pormenores da obra do artista e da evolução do seu estatuto, levando-nos a criar o nosso próprio imaginário sobre esta "pop star".</div>
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Deixo-vos aqui os links para os livros em questão</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiPysqhRMZsgDymz6foifGLF_ZnoNuySVLLvxRiAJVsW0FTpJio8lQBSQ3Ztd8HIkkcqclqtPKZA0KB6jYDurNTwD3hoDQ7dEOzFcg3VHmlhFn65GfOpiZ4N5kuknugzJnN-PrHg7jK8vt/s1600/GUIDE+TO+AMERICA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="218" data-original-width="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiPysqhRMZsgDymz6foifGLF_ZnoNuySVLLvxRiAJVsW0FTpJio8lQBSQ3Ztd8HIkkcqclqtPKZA0KB6jYDurNTwD3hoDQ7dEOzFcg3VHmlhFn65GfOpiZ4N5kuknugzJnN-PrHg7jK8vt/s1600/GUIDE+TO+AMERICA.jpg" /></a></div>
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<span style="color: black;"><a href="https://drive.google.com/open?id=1V-YKn_T6S_TvOpyjtQcleR4WBLlb93H6" target="_blank">Farber, David R., and Beth L. Bailey. <i>The Columbia Guide to America in the 1960s</i>. Columbia University Press, 2001</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU5bEQ_Y7v1HXoUfBaXTXKMwfxHfp4ntXS5qqwp92NXULkzOO95xfXTXvguwQ5HXEheDyBF5gyRoJnQDt_gH1Et9cfpRIzjo0VuMpB5h-NqMTfwObi_qqiNDqctX_SdNQqSIL9Hdd2DLat/s1600/WARHOL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU5bEQ_Y7v1HXoUfBaXTXKMwfxHfp4ntXS5qqwp92NXULkzOO95xfXTXvguwQ5HXEheDyBF5gyRoJnQDt_gH1Et9cfpRIzjo0VuMpB5h-NqMTfwObi_qqiNDqctX_SdNQqSIL9Hdd2DLat/s320/WARHOL.jpg" width="260" /></a></div>
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<a href="https://drive.google.com/open?id=183il-UGm-79gXAb4Gd0SQqTHAztlDD7P" target="_blank">Honnef, Klaus. <i>Andy Warhol: 1928-1987, Commerce into Art, 1928-1987</i>. Benedikt Taschen, 2000.</a><br />
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Rafaela Ramos de Faria, nº147497</div>
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-18051436770763862192018-05-28T22:04:00.001+01:002018-06-28T01:02:05.737+01:00'Her Body and Other Parties'_Carmen Maria Machado<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4W7Bo9QQDFBkz8CKTVtikJbE2ZcICXhkuKScrS4B8erXakyqVXHreX1tHksJktyEYF-QgQ7m8UYb7Iz6ccYAeQWvNG3d_MFOYmNiHJhgQSZZc1QJlksKbVqk02HfSNVVUBXr-uBdbyjva/s1600/91ZOrAgmdrL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4W7Bo9QQDFBkz8CKTVtikJbE2ZcICXhkuKScrS4B8erXakyqVXHreX1tHksJktyEYF-QgQ7m8UYb7Iz6ccYAeQWvNG3d_MFOYmNiHJhgQSZZc1QJlksKbVqk02HfSNVVUBXr-uBdbyjva/s400/91ZOrAgmdrL.jpg" width="265" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="PT" style="font-family: Cambria; font-size: small; mso-ansi-language: PT; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Embora esta cadeira se
foque em artes visuais, a proposta interdisciplinar das nossas apresentações,
combinada com os temas de género e corpo, fez-me lembrar a antologia de contos
curtos <i>Her Body and Other Parties, </i>que talvez possa ser colocada em
paralelo com os nossos estudos de maneira interessante. </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="PT" style="font-family: Cambria; font-size: small; mso-ansi-language: PT; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Carmen Maria Machado é
uma autora contemporânea americana, e apesar de este ser o seu primeiro livro,
anteriormente ela publicou contos em periódicos de renome, como a <i style="mso-bidi-font-style: normal;">Granta</i>, <i style="mso-bidi-font-style: normal;">The New York Times</i> e <i style="mso-bidi-font-style: normal;">The New
Yorker</i>. Esta obra foi nomeada para o National Book Award e muitos
outros prémios e tem chamado atenção mundialmente, desde a sua publicação em
outubro passado.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="PT" style="font-size: small; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Os
contos de </span><span lang="PT" style="font-size: small;">Carmen Maria Machado</span><span lang="PT" style="font-size: small; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> são
firmemente enraizados nas ansiedades contemporâneas de feminilidade; contudo,
apesar de muitas vezes as narrativas serem situadas num mundo muito parecido com
o nosso, a autora hiperboliza diversas características dos ambientes retratados,
usando a ambiguidade como uma ferramenta para construir os seus próprios universos.
O resultado é uma fusão de elementos distópicos e fantásticas, numa espécie de
realismo mágico, com elementos de ficção científica.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="PT" style="font-size: small; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: EN-US;">O
corpo é uma constante que junta todos os contos. </span><span lang="PT" style="font-size: small;">Carmen
Maria Machado</span><span lang="PT" style="font-size: small; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: EN-US;"> trata-o em várias manifestações — do corpo queer,
ao corpo maternal (estes dois são combinados no conto “Mothers”), passando pela
preocupação com o corpo ideal, ou pelo corpo como espaço traumático.
Particularmente no conto “Eight Bites”, podemos ler a representação do corpo
como uma massa externa em paralelo com as esculturas de Louise Bourgeois: não
posso dizer mais sem fazer um <i style="mso-bidi-font-style: normal;">spoiler</i>,
por isso convido-vos a ler o livro para poderem tirar as vossas próprias
conclusões!</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="PT" style="font-size: small; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Recomendo
mesmo que comprem o livro, uma das melhores coisas que li nos últimos anos (só comparável
a <i>The Bloody Chamber</i>, de Angela Carter), mas se quiserem começar por
espreitar, há alguns contos disponíveis <i style="mso-bidi-font-style: normal;">online</i>,
incluindo “<a href="http://texas.gulfcoastmag.org/journal/29.2-summer/fall-2017/eight-bites/"><span style="color: #1155cc;">Eight Bites</span></a>”, “<a href="https://granta.com/The-Husband-Stitch/"><span style="color: #1155cc;">The
Husband Stitch</span></a>”, “<a href="http://theamericanreader.com/especially-heinous-272-views-of-law-order-svu/"><span style="color: #1155cc;">Especially Heinous</span></a>” e “<a href="http://interfictions.com/motherscarmen-machado/"><span style="color: #1155cc;">Mothers</span></a>”.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="PT" style="font-size: small; mso-bidi-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Eleanor Weinel </span></span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-7113586860876193832018-05-28T17:07:00.002+01:002018-06-28T01:16:40.620+01:00Another Kind of Life - Photography on the Margins<div style="text-align: justify;">
A recente exposição "Another Kind of Life - Photography on the Margins", no Barbican Centre, em Londres, tratou muitos dos assuntos que discutimos na nossa cadeira este semestre, tal como a importância e a relevância da fotografia de documentário, noções de corpo e género, ou a arte como um esforço social para a mudança. A questão que reúne os vinte fotógrafos selecionados é o retrato da vida fora do comum, conferindo visibilidade às várias comunidades marginalizados mundialmente.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinsCMvM6sPTz6AYZR0gSabcSfbl0-x9rWcyv6KUeY-Gin0JhlRVstge8MKC8TbyKi3DWxnqlhmQADfDEUWA9HeXQ-y5fj_QQr_857tT0oaeHrqTtsBBzoZWTi-SuUirR5ABVVQG7tVvwq/s1600/375374.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1082" data-original-width="1400" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinsCMvM6sPTz6AYZR0gSabcSfbl0-x9rWcyv6KUeY-Gin0JhlRVstge8MKC8TbyKi3DWxnqlhmQADfDEUWA9HeXQ-y5fj_QQr_857tT0oaeHrqTtsBBzoZWTi-SuUirR5ABVVQG7tVvwq/s400/375374.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: "neuzeit grotesk regular" , sans-serif; font-size: 13px; text-align: right;">Paz Errázuriz, <i>Evelyn, Santiago, 1983,</i> da série <i>La manzana de Adán [Adam’s Apple]</i></span></td></tr>
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Algumas das obras que mais me interessaram foram os retratos duma comunidade de trabalhadores do sexo transgénero, no Chile tiradas por Paz Errázuriz nos anos 1980. Embora sejam da mesma época os retratos de Andy Warhol em <i>drag</i> (onde o género é tratado como uma brincadeira com a identidade, um ato subversivo, mas sem consequências sociais), as imagens de Errázuriz são uma forma de resistência tendo em conta o contexto político de ditadura, quando a violência policial contra pessoas não conformistas era comum.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi9shfCTJeL8HDJcNTT8J0v1eIjgM-dik77U9LXu6JmtH4VhukSOMMmIYjPTbtX9NaZyAq4AiAIAgisugGAq_ZQyDAPxn2_P2qht9_akeCEmcjPkI4UQTEYOkPaxOAN45VRlxFAkrn2yRh/s1600/375370.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="788" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi9shfCTJeL8HDJcNTT8J0v1eIjgM-dik77U9LXu6JmtH4VhukSOMMmIYjPTbtX9NaZyAq4AiAIAgisugGAq_ZQyDAPxn2_P2qht9_akeCEmcjPkI4UQTEYOkPaxOAN45VRlxFAkrn2yRh/s400/375370.jpg" width="262" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: "neuzeit grotesk regular" , sans-serif; font-size: 13px; text-align: right;">Paz Errázuriz, </span><span style="background-color: white; font-family: "neuzeit grotesk regular" , sans-serif; font-size: 13px; text-align: right;"><i>Pilar, Santiago, 1983</i>, da série <i>La manzana de Adán [Adam’s Apple]</i></span></td></tr>
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Em contraste com o trabalho de Dorothea Lange para a FSA, em que as fotografias são retratos feitos em viagem entre comunidades de uma maneira mais transitória, o projeto de Errazúriz foi realizado ao longo de 4 anos, partindo de uma relação pessoal entre a fotógrafa e os sujeitos representados - ela conviveu com eles e as fotografias foram feitas em colaboração, para provocar questões sobre a construção de identidade, as "vidas subterrâneas" e a expressão de si próprio como forma de resistência política.</div>
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<br /></div>
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<a href="https://www.barbican.org.uk/our-story/press-room/another-kind-of-life-photography-on-the-margins" target="_blank">Cliquem aqui</a> para descobrir mais sobre a exposição (que reuniu muitos mais fotógrafos interessantes) e se quiserem saber um pouco mais sobre esta artista <a href="http://www.anothermag.com/art-photography/10759/the-photographer-who-documented-the-underbelly-of-chilean-society" target="_blank">cliquem aqui</a>, para lerem uma entrevista dela.</div>
<br />
Eleanor WeinelUnknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-57709289716503771932018-05-27T02:19:00.000+01:002018-06-28T01:51:18.044+01:00Irving Penn <br />
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Irving Penn (1917-2009) foi um fotógrafo estado-unidense
conhecido pela sua fotografia de moda, retratos e naturezas mortas. Trabalhou
na revista <i style="mso-bidi-font-style: normal;">Vogue </i>e fez trabalhos de
publicidade para empresas como a <i style="mso-bidi-font-style: normal;">Clinique.
</i>As fotografias de Penn mostram uma grande atenção ao detalhe e o artista
experimentou várias técnicas inovadoras incluindo técnicas de impressão em
alumínio. As suas impressões a preto e branco são notáveis pelo intenso
contraste, que lhes confere um aspecto bastante nítido.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH3PQJSRl7Qn5y-b5CU_V0VHmp81WGkoe-oOATIY82a92CGf4P0CI_ODL5HICAARMxrHqg6qtONBMtTWyasZrhL3Ge_01PhkVpAGYbVDVaCrfw7GqUfIIjyqKEEWqBqajZYH-dEvsqo1R5/s1600/Imagem1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="498" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH3PQJSRl7Qn5y-b5CU_V0VHmp81WGkoe-oOATIY82a92CGf4P0CI_ODL5HICAARMxrHqg6qtONBMtTWyasZrhL3Ge_01PhkVpAGYbVDVaCrfw7GqUfIIjyqKEEWqBqajZYH-dEvsqo1R5/s320/Imagem1.jpg" width="320" /></a></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"> Irving Penn,<i style="mso-bidi-font-style: normal;"> Man Lighting Girl's Cigarette</i>, 1949<o:p></o:p></span></div>
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Esta fotografia apresenta a modelo Jean
Patchett em segundo plano, atrás de uma garrafa de vidro semi-cheia. Na
parte superior da garrafa forma-se o reflexo desfocado da modelo que desenvolve
uma forma semi-abstracta, iluminada pela luz reflectida na garrafa e criando um
contraste com o plano de fundo. A garrafa está pousada sobre uma superfície
plana com a sombra dos objectos desfocados em segundo plano, como um copo de pé
em vidro do lado esquerdo da garrafa, também semi-cheio.<o:p></o:p></div>
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A atravessar o copo aparece o braço da modelo, coberto até ao
cotovelo por uma luva preta, e o ombro, com a alça do vestido preto. Patchett aparece depois do lado direito da garrafa, vendo-se ainda o seu rosto, o outro ombro e o braço. Ela está de perfil com o rosto
ligeiramente inclinado para cima, tem um olho fechado e os lábios esticados
para o cigarro, seguro entre os dedos. Em plano de fundo está um ambiente pouco
nítido com manchas escuras na zona superior da imagem. Já dentro da garrafa
aparece um reflexo desfocado e distorcido da modelo com o pescoço alongado. Na
zona escura da garrafa onde está o líquido, está reflectido um corpo pouco
nítido e escuro, com a cabeça cortada.<o:p></o:p></div>
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A fotografia é composta por linhas verticais e diagonais.
Através do vidro é marcada na imagem uma linha vertical no centro da
garrafa. Esta linha guia o olhar para o centro de interesse, a modelo,
e o facto de a posição da câmara ser ligeiramente contra-picada confere à garrafa
alguma imponência. Já a linha horizontal transmite sentido
de continuidade, dá a ideia de que existem mais elementos que não ficaram captados na
imagem.<o:p></o:p></div>
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O centro de interesse é destacado pela sua tonalidade escura:
em contraste com o ambiente claro, os cantos têm manchas escuras e na área
inferior da imagem existe também uma faixa negra.<o:p></o:p></div>
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<br /></div>
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Quanto à análise conotativa, torna-se relevante todo o lado
misterioso e abstrato da fotografia. A imagem desfigurada da modelo refletida
na garrafa leva o espectador a questionar o seu propósito, sendo que esta fotografia
em particular se destina ao público do mundo da moda. No entanto, o
pescoço alongado e a inclinação que o reflexo toma conferem à imagem um cariz
sofisticado e requintado. Por outro lado, a posição em que a fotografia foi
capturada dá a ideia de se tratar do ponto de vista de um espectador a
espreitar por baixo de uma mesa. Essa posição contra-picada dá à modelo uma aura
de poder e de autoridade.</div>
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Penn leva o
público a questionar-se sobre o significado das suas fotografias e capta a
atenção através da excentricidade dos seus planos e enquadramentos.<o:p></o:p></div>
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Ana Catarina Nunes, 139071</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-54425924210285408982018-05-26T21:46:00.000+01:002018-06-28T00:27:08.283+01:00Jeff Koons<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Hello Everybody,</span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">since we mentioned
the name <b>Jeff Koons</b> in one of our classes I realized that I know almost nothing
about an artist who is one of the most successful in our time. So, I have
read some articles and I wanted to share the results of my research with you.</span><span style="font-family: "garamond" , serif;"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-family: "garamond" , serif; font-size: small; mso-ansi-language: EN-US;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ4bf51YZsHuy_poKRcFLbnRsW4aQKFaspLcgjLZY8G7cng0Fv2_89kth_WZ14U1UNrTcEYezrtKFKkr1vMPSosKZnUJ_Ne3cMQGalCcftUiBm8RQXh-P6V6ohES2PvvSXWli9NIfr0OJh/s1600/jeff-koons-balloon-protection.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="512" data-original-width="768" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ4bf51YZsHuy_poKRcFLbnRsW4aQKFaspLcgjLZY8G7cng0Fv2_89kth_WZ14U1UNrTcEYezrtKFKkr1vMPSosKZnUJ_Ne3cMQGalCcftUiBm8RQXh-P6V6ohES2PvvSXWli9NIfr0OJh/s640/jeff-koons-balloon-protection.jpg" width="640" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Jeff Koons by Harold Cunningham/Getty Images <a href="https://www.vanityfair.com/culture/2016/12/jeff-koons-art-basel-shattered-balloon-dog" target="_blank">Website Vanity Fair</a></span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Jeff Koons is one
of the most famous contemporary artists alive and undeniably one of the most
polarizing. Born in Pennsylvania in 1955, Koons moved to New York after receiving
his BFA at the School of the Art Institute of Chicago and the Maryland Institute
College of Art in Baltimore. </span></span><span style="font-family: georgia, 'times new roman', serif; font-size: small;">In 1980, he had his
first solo exhibition in New York and since then he can be seen as “something
of an art-world boy wonder” (</span><span style="font-size: small;"><a href="https://www.theguardian.com/artanddesign/2018/mar/09/jeff-koons-i-think-ill-always-keep-feeling-somewhat-like-an-outsider" style="font-family: georgia, 'times new roman', serif;" target="_blank">The Guardian 2018</a><span style="font-family: georgia, 'times new roman', serif;">).</span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Since an auction in
November 2012, where Christie's sold of one of his <i style="mso-bidi-font-style: normal;"><b>Balloon Dogs (Orange)</b> </i>for US$58.4, Koon’s work became the most expensive
work by a living artist ever sold at auctions. </span><span style="font-family: "times" , "times new roman" , serif;"><o:p></o:p></span></span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPY8J9vjrfF4X34p6P05jag4eIomaFSlnIpBEnzmI61kCVBlwN_sCJWBD2R3Jidrk2HlIEYPchAx4VYoEpFmdNTCasnUlKVdEKDWCyRWVSO8Yc2x1GT9dMDoz0zpS7pCl86mvkfW_iz0es/s1600/balloondog-orange.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="509" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPY8J9vjrfF4X34p6P05jag4eIomaFSlnIpBEnzmI61kCVBlwN_sCJWBD2R3Jidrk2HlIEYPchAx4VYoEpFmdNTCasnUlKVdEKDWCyRWVSO8Yc2x1GT9dMDoz0zpS7pCl86mvkfW_iz0es/s400/balloondog-orange.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;"><i><b>Ballon Dog (Orange)</b></i> <br />mirror-polished stainless steel with transparent color coating</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;">121 x 143 x 45 inches </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;">307.3 x 363.2 x 114.3 cm </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;">© Jeff Koons</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;">5 unique versions (Blue, Magenta, Yellow, Orange, Red)</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="border: 0px none; color: #999999; font-size: small; line-height: 1.538em; margin: 0px; padding: 0px; vertical-align: baseline;">1994-2000</span></span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2RGFGBhbaynB3dHgvX-Y3cKheLKeuydZaUGiAw1FEt9SgPJHBhzJ2Liy9KJNuhEL5T-C634ziUQBIJNSWoZP_aUj_OhkGP66gOXL8YOk3oM6NjVwfvbdf8W5Di6e07JRtKqcriJKfY36V/s1600/pup1_sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="496" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2RGFGBhbaynB3dHgvX-Y3cKheLKeuydZaUGiAw1FEt9SgPJHBhzJ2Liy9KJNuhEL5T-C634ziUQBIJNSWoZP_aUj_OhkGP66gOXL8YOk3oM6NjVwfvbdf8W5Di6e07JRtKqcriJKfY36V/s400/pup1_sm.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><i style="color: #999999; font-weight: bold;">Puppy</i><span style="color: #999999; font-weight: bold;"><span style="font-size: 11px;"> </span></span><span style="font-size: x-small;"><span style="background-color: white;"><br /></span></span></span></span><br />
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;"><span style="background-color: transparent; color: #999999;">stainless steel, wood (at Arolsen only)</span></span></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;">
</span></span></span></span>
<br />
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;"><span style="background-color: transparent; color: #999999;">, soil, geotextile fabric, internal irrigation system,</span></span></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;">
</span></span></span></span>
<br />
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;"><span style="background-color: transparent; color: #999999;">live flowering plants </span></span></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;">
</span></span></span></span>
<br />
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;"><span style="background-color: transparent; color: #999999;">486 x 486 x 256 inches </span></span></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;">
</span></span></span></span>
<div style="text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;"><span style="background-color: transparent; color: #999999;">1234.4 x 1234.4 x 650.2 cm </span></span></span></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="jeffkoons-studio-title jeffkoons-artwork-title jeffkoons-studio-artwork-title" style="border: 0px; font-size: small; line-height: normal; margin: 1em 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;"><span style="background-color: white;">
<div style="text-align: center;">
<span style="background-color: transparent; color: #999999;">© Jeff Koons </span><span style="background-color: transparent; color: #999999;">1992</span></div>
</span></span></span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">The 63 years old American
artist is widely known for his iconic monumental sculptures, such as balloon
animals produced in stainless steel with mirror-finish surfaces (for instance <i>Rabbit</i>, <i>Balloon Dog </i>and<i> Puppy</i>). In his work he satirizes objects of consumer and
popular culture society, for example by making trinket figures or rococo
figures in ceramics. As a form of presentation, he chooses the imitation or
alienation of the objects which he selected partly from the field of advertising or
porn industry. By playing with objects from everyday life and ‘kitsch culture’
he created an artistic transition and a crossing between art and ‘kitsch’.</span><span style="font-family: "times" , "times new roman" , serif;"><o:p></o:p></span></span></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyFyzFi0lNTUAEygI6YzyGsddNj8TKIPMHJNBIz-6YhjXcJedw0aGpg8MT_CX6u5bNPyD3A46mLGhLKf0Xt-Kgytr1owUVnNXYhLRQykqfVISQa7DjnIYR4cmZFJF4MMd4to50l4JERr1n/s1600/ban7_sm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="480" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyFyzFi0lNTUAEygI6YzyGsddNj8TKIPMHJNBIz-6YhjXcJedw0aGpg8MT_CX6u5bNPyD3A46mLGhLKf0Xt-Kgytr1owUVnNXYhLRQykqfVISQa7DjnIYR4cmZFJF4MMd4to50l4JERr1n/s400/ban7_sm.jpg" width="400" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;"><i><b>Micheal Jackson and Bubbles</b></i><br />porcelain, </span><span style="background-color: white; color: #999999; font-size: small;">42 x 70 1/2 x 32 1/2 inches </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;">106.7 x 179.1 x 82.6 cm </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;">© Jeff Koons</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;">Edition of 3 plus AP </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #999999; font-size: small;">1988</span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="tab-stops: 26.3pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">I found
a very interesting <a href="http://www.nybooks.com/articles/2014/09/25/cult-jeff-koons/" target="_blank">article</a> on Koons and his work in which the author claims
that Marcel Duchamp ‘begat’ Robert Rauschenberg and Jasper Johns, who begat Andy
Warhol, who begat Jeff Koons. I think it is a very reasonable thought to see Marcel
Duchamp - who roughly a hundred years ago produced his first Readymades – as an
‘ancestor’ of Jeff Koons. <span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Furthermore,
there are some facts that could link Andy Warhol and Koons to one another, for instance, the presentation
of work under an assortment of series and brand names or the work in a ‘factory’…</span><span style="font-family: "times" , "times new roman" , serif;"><o:p></o:p></span></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-family: "garamond" , serif; font-size: small; mso-ansi-language: EN-US;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_CdGxtKdJSft7RBRD_zKs_HzPsH86_j4YRPP-M1S-mGbkrgicYvDkRbiL5mkqrQLIkYnJVlzGKyiQeH8z0MBGmwKaL_nCXMpLbLFFEUO_wWPur3zugUPOsvPeat_uPD0vBLPS3KWCh-9P/s1600/161560703.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="405" data-original-width="612" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_CdGxtKdJSft7RBRD_zKs_HzPsH86_j4YRPP-M1S-mGbkrgicYvDkRbiL5mkqrQLIkYnJVlzGKyiQeH8z0MBGmwKaL_nCXMpLbLFFEUO_wWPur3zugUPOsvPeat_uPD0vBLPS3KWCh-9P/s1600/161560703.jpg" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="https://www.gettyimages.pt/detail/fotografia-de-not%C3%ADcias/rendezvous-with-jeff-koons-in-new-york-jeff-fotografia-de-not%C3%ADcias/161560703" target="_blank">Jeff Koons in his Studio in Chelsea, New York</a></span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="tab-stops: 26.3pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">I am not sure what
to think about Koon's art myself, I do not find it exceedingly beautiful or
that much aesthetic but I am in a sense fascinated by how the
art world functions and why Koon's art became so popular and so
expensive, even if he is not even producing all of it with his own hands...</span></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">I recommend
the article <a href="https://www.theguardian.com/artanddesign/2015/jul/05/jeff-koons-people-respond-to-banal-things-they-dont-accept-their-own-history" target="_blank">"Jeff Koons: ‘People respond to banal things – they don’t accept their own history’”</a>, by Emma Brockes, published in <i>The Guardian</i>, in June
2015. The author discusses the question “Are the critics right to
dismiss his work as ‘smug’ and ‘baloney’, or is he justified in saying it
teaches us a vital lesson about materialism?”. <o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">I wish all of you a brilliant weekend, <o:p></o:p></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;"><span style="font-family: "georgia" , "times new roman" , serif;">Joana da Silva Duering N° 152336</span><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><o:p></o:p></span></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><br /></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;"><br /></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">Sources</span></span></span></div>
<ul>
<li><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="http://www.jeffkoons.com " target="_blank"><span style="color: black; font-family: "georgia" , "times new roman" , serif; font-size: xx-small;">http://www.jeffkoons.com </span></a></span></span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Pearl, Jed. The Cult of Jeff Koons, The New York Review of Books 25. September 2014. <a href="http://www.nybooks.com/articles/2014/09/25/cult-jeff-koons/">http://www.nybooks.com/articles/2014/09/25/cult-jeff-koons/</a> (Accessed 24. May 2018).</span></span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: small;">Nevins, Jake. Jeff Koons: 'I Think I'll always keep feeling somewhat like an outsider', The Guardian 09. March 2018. <a href="https://www.theguardian.com/artanddesign/2018/mar/09/jeff-koons-i-think-ill-always-keep-feeling-somewhat-like-an-outsider">https://www.theguardian.com/artanddesign/2018/mar/09/jeff-koons-i-think-ill-always-keep-feeling-somewhat-like-an-outsider</a> (Accessed 24.May 2018).</span></span></li>
</ul>
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Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7120843639709768893.post-88232579932176176852018-05-26T20:59:00.000+01:002018-06-28T00:16:49.047+01:00Sally Mann<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYATjSBd9fpXMbJB1HMJc7hMbjwBZt84uII3JMwkzcPCyp89ceHODjT3VIO59KsmyWKBEBbcrn8Y5AGlUBY9Xy8cLToaaOuq6M0D3JndGyrhsrI9YK244PVz8Fsl1NciFotaR8mlSJzWhi/s1600/kn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="857" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYATjSBd9fpXMbJB1HMJc7hMbjwBZt84uII3JMwkzcPCyp89ceHODjT3VIO59KsmyWKBEBbcrn8Y5AGlUBY9Xy8cLToaaOuq6M0D3JndGyrhsrI9YK244PVz8Fsl1NciFotaR8mlSJzWhi/s640/kn.jpg" width="640" /></a></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;"> Sally Mann, <i>The New Mothers</i> (1989)</span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">Sally Mann (1951-) é uma fotógrafa americana mais conhecida pelas suas fotografias a preto e branco, primeiramente dos filhos e depois de paisagens sugerindo decadência e morte. </span></div>
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<span lang="EN-US" style="mso-ansi-language: EN-US;">Na sua obra, Mann concentra-se principalmente em desvendar
o comportamento do ser humano, tendo começado por</span> retrata os filhos, brincando a ser adultos. Mann começou a fotografar os seus filhos assim que eles nasceram,
criando ao longo dos anos um álbum de fotografias de família totalmente
irreverente, que acabaria por intitular <i style="mso-bidi-font-style: normal;">Immediate Family </i>(1992). <o:p></o:p></div>
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A obra da
fotógrafa é bastante curiosa e intrigante, pois ela apresenta um lado diferente
da suposta inocência da infância e da pré-adolescência.<o:p></o:p> Raiva, amor,
morte, sensualidade e beleza são temas que a fotógrafa faz questão de incluir nos
seus retratos da vida familiar, quebrando tabus e problematizando a idealização da
família.<o:p></o:p></div>
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Ana Catarina Nunes, 139071</div>
<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7120843639709768893.post-34608445136973091522018-05-26T15:57:00.002+01:002018-06-28T00:08:28.126+01:00Cindy the Doll is MineOlá a todos!<br />
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Queria partilhar esta curta de Bertrand Bonello que reflete sobre o jogo que Cindy Sherman faz na sua obra, enquanto criadora e objeto das suas fotografias. </div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/M0JcGrcKrfA/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/M0JcGrcKrfA?feature=player_embedded" width="320"></iframe></div>
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O filme simula uma sessão fotográfica em que a fotógrafa e a modelo, apesar de serem duas personagens diferentes, são a mesma atriz. É interessante pensar na forma como cada uma assume uma personalidade e gestualidade distintas, mantendo porém uma expressão facial idêntica. </div>
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Francisca PortugalUnknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-31106069564794118082018-05-25T22:01:00.002+01:002018-06-27T23:50:16.365+01:00'Enjoy Poverty (Please!)'<div style="font-stretch: normal; line-height: normal; text-align: justify;">
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: "times new roman"; font-variant-ligatures: no-common-ligatures;">Renzo Martens (1973-) é o </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: "times new roman";">cineasta holandês que realizou um documentário na República do Congo intitulado "Episode III</span><span style="background-color: white;">: </span><span style="background-color: white;">Enjoy Poverty" </span><span style="background-color: white;">(2008)</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: "times new roman";">. Neste registo de</span><span style="font-family: "times new roman";"><span style="-webkit-text-stroke-width: initial;"> 90 minutos, Martens </span><span style="-webkit-text-stroke-width: initial;">critica a </span></span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: "times new roman";">presença dos <i>media</i> no país e </span><span style="font-family: "times new roman";"><span style="-webkit-text-stroke-width: initial;">o facto de</span><span style="-webkit-text-stroke-width: initial;"> as imagens da pobreza serem as exportações mais lucrativas do Congo. </span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="-webkit-text-stroke-width: initial; font-family: "times new roman";">A </span><span style="font-family: "times new roman";">estratégia</span><span style="-webkit-text-stroke-width: initial; font-family: "times new roman";"> que Martens utiliza para</span><span style="-webkit-text-stroke-width: initial; font-family: "times new roman";"> veicular uma crítica através da sua obra é a subversão. Fá-lo instruindo os fotógrafos locais a fotografar a sua própria comunidade empobrecida e a ganhar dinheiro com isso, tal como os fotógrafos ocidentais são pagos por trabalhos em África. Para além disto, i</span><span style="font-family: "times new roman";"><span style="-webkit-text-stroke-width: initial;">nstala uma placa de neon que diz “Enjoy Poverty” como uma diretriz para os congoleses tirarem proveito da própria </span>situação<span style="-webkit-text-stroke-width: initial;"> para ganharem dinheiro. O </span>documentário<span style="-webkit-text-stroke-width: initial;"> vai alternando imagens recolhidas por Martens, com <i>footage</i> de </span></span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: "times new roman";">campos de refugiados (focando o logotipo da UNICEF)</span><span style="font-family: "times new roman";"> e</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: "times new roman";"> de cadáveres.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="-webkit-text-stroke-width: initial;">O filme recebeu críticas contraditórias ao ser exibido na 6ª Bienal de </span><span style="-webkit-text-stroke-width: initial;">Berlin, na Tate Modern (Londres), no Stedelijk Museum Bureau (Amesterdão), no Centre Pompidou (Paris) e na Careof (Milão)</span><span style="-webkit-text-stroke-width: initial;">, tendo sido acusado de perpetuar o problema que se propôs criticar.</span><span style="-webkit-text-stroke-width: initial;"> </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="font-family: "times new roman";"><span style="-webkit-text-stroke-width: initial;">Em entrevista, Martens revelou-se ansioso por poder realizar um novo projeto em África,</span><span style="-webkit-text-stroke-width: initial;"> sublinhando as suas intenções ativistas: “</span></span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: "times new roman";">Well, for the workers living on the plantation the artistic quality that Episode III proposes may have been of little interest. They may well prefer a worse piece of art, if only it would bring food to the table. So I am planning to do that: bring food to the table</span><span style="-webkit-text-stroke-width: initial; font-family: "times new roman";">”.</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="-webkit-text-stroke-width: initial;">Sem me alongar mais, gostaria de vos deixar algumas perguntas</span> para vos ajudar a refletir sobre o caso exposto e desafiar-vos a comentarem o post com as vossas respostas. </span></div>
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="font-family: "times new roman";">1- De um ponto de vista ético e moral, concordam com o que </span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); font-family: "times new roman";">Renzo Martens fez?</span></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="font-family: "times new roman";"><b>2- Tendo em conta a atribuição dos <a href="http://www.renzomartens.com/episode3/credits" target="_blank">créditos</a> </b></span><b style="font-family: "Times New Roman";">e <a href="http://www.renzomartens.com/episode3/profits" target="_blank">lucros</a></b> <b style="font-family: "Times New Roman";">do documentário, acham que houve algum benefício para os congoleses?</b></span></div>
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<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="font-family: "times new roman";">3- Será possível interpretar a i</span><span style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: "times new roman";">ntervenção deste cineasta europeu em África como uma vertente de neocolonialismo artístico?</span></span></b></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Assim como a minha colega <span style="background-color: white;">Rafaela Ramos de Faria fez no </span>post <a href="http://artenorteamericana-flul.blogspot.pt/2018/05/serie-infra-richard-mosse.html" style="font-stretch: normal; line-height: normal; text-decoration: none;">Série Infra, Richard Mosse</a><span style="font-family: "cambria";">, </span><span style="font-family: "cambria";">gostaria de dedicar este meu post ao nosso Professor<span style="font-family: "roboto";"> </span></span><span style="background-color: white;"><span style="font-family: "roboto";">Carlos Garrido Castellano que lecionou a unidade curricular Introdução às Artes Africanas (2017/2018). </span></span></span></div>
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<span style="background-color: white;"><span style="color: #333333; font-family: "roboto";"><span style="caret-color: rgb(51, 51, 51); font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Fontes</span></div>
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<li><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="-webkit-font-kerning: none; -webkit-text-stroke-width: initial; font-variant-ligatures: no-common-ligatures;">Jeffries, S. (16 de Dezembro de 2014). Renzo Martens – the artist who wants to gentrify the jungle. The Guardian. </span><a href="https://www.theguardian.com/artanddesign/2014/dec/16/renzo-martens-gentrify-the-jungle-congo-chocolate-art" style="-webkit-text-stroke-width: initial;"><span style="-webkit-font-kerning: none; font-variant-ligatures: no-common-ligatures;">https://www.theguardian.com/artanddesign/2014/dec/16/renzo-martens-gentrify-the-jungle-congo-chocolate-art</span></a><span style="-webkit-text-stroke-width: initial;"> Acedido a 25 de Maio de 2018.</span></span></li>
<li><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="-webkit-text-stroke-width: initial;">Martens, R. Episode III: Enjoy Poverty. </span><a href="http://www.renzomartens.com/episode3/film">http://www.renzomartens.com/episode3/film</a> Acedido a 25 de Maio de 2018.</span></li>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Teresa Maia, nº147188</span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-51620534612067826442018-05-25T16:37:00.001+01:002018-06-27T23:35:23.084+01:00Série Infra, Richard Mosse<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-justify: inter-ideograph;">
<span lang="PT" style="font-family: "times" , "times new roman" , serif;">Caros colegas, no contexto da aula de quinta-feira (24 de Maio), decidi apresentar-vos a série <i>Infra</i>, do fotógrafo Richard Mosse. <o:p></o:p></span></div>
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<span lang="PT" style="font-family: "times" , "times new roman" , serif;">Nascido
em Kilkenny, Irlanda, em 1980, Mosse vive e trabalha entre Nova Iorque e
em Berlim. A sua lente passou por locais de conflito como o Irão,
o Paquistão, o Haiti e a antiga Jugoslávia, mas ganhou renome com a série <i>Infra</i>,
sobre o conflito na República do Democrática do Congo, realizada com o objectivo de
alertar para a guerra que se passa neste país. <o:p></o:p></span></div>
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<span lang="PT" style="font-family: "times" , "times new roman" , serif;">Iniciado com a fuga do grupo étnico dos Hutus ao Congo Oriental, no fim do genocídio em
Ruanda, 1994, o conflito dura há duas décadas, envolvendo 40 grupos rebeldes (com várias mudanças de lealdade) e o exército congolês. <u><b style="mso-bidi-font-weight: normal;">Entre 1998 e 2007 morreram 5,4 milhões de pessoas</b>. <b>A cada hora, 48 mulheres são violadas.</b></u></span></div>
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<span lang="PT" style="font-family: "times" , "times new roman" , serif;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
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<span lang="PT" style="font-family: "times" , "times new roman" , serif;">Para a
realização desta série, Richard Mosse foi a áreas isoladas da província do Kivu, para captar
esta ocorrência humanitária de proporções catastróficas. De forma a conseguir
as cores berrantes, que se podem observar nas fotos abaixo, aproveitou o Kodak
Aerochrome (filme infravermelho de reconhecimento, desenvolvido pelo exército
estadunidense durante a Segunda Guerra Mundial). Para o exército, esta técnica
servia para se conseguir observar o inimigo, no caso da obra de Mosse, resulta
em paisagens e fotografias de aspecto surrealista, a rosa e vermelho – cores
ligadas à publicidade.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-US;"><span style="font-family: "times" , "times new roman" , serif;">Assim, esta técnica cria uma certa ambivalência o que, segundo as palavras de Mosse, gera indignação por
parte do espectador. A utilização de um método usado </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-US;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; mso-ansi-language: EN-US;"><span style="font-family: "times" , "times new roman" , serif;">para propósitos militares</span></span>, nos inícios
dos anos 1940, e a beleza que transporta para a
fotografia podem ser o começo de uma percepção do contraste entre o “belo” e o horrível” — "the surreal quality of these images respond to our desire to be distracted
from trauma at the moment of engagement, to float near, but not be engulfed by
the reality" (MOSSE,<span style="mso-spacerun: yes;"> </span>2018).</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1008" data-original-width="806" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLFLLRTYDE1qmEeRCNBnEd6eXNEYmmlCbvuMbF6mGp8K1-VkecA6g_vcD1x4eJO9H6yLLqhXLcg9zuu03NckoxhNDUSpZs4UwvCAZ2J6XvEuRttLW6cbsW7OaVxhR0BwwYhb4Fe3mCI4ul/s400/Madonna+and+the+child.jpg" style="margin-left: auto; margin-right: auto;" width="318" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Richard Mosse, <i style="border: 0px; box-sizing: border-box; line-height: 22.05px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Madonna and Child, North Kivu, Eastern Congo, 2012</i><span style="background-color: white; line-height: 22.05px;"> </span></span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="background-color: white; font-style: inherit; line-height: 22.05px;">Digital al c-print<br /> DHC/ART Montreal</span></span></td></tr>
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<div class="artwork-metadata__secondary-metadata" style="background-color: white; border: 0px; box-sizing: border-box; line-height: 22.05px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="815" data-original-width="1200" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF0PVFQO5LFarMbs1taLttJHVYTRqffYRp8ae98CieCuqYrRd0Wk70cog5TduzUekfqi8WNCApMghC7RFbw55twO1gi_wLb-JFc_gsS3BH0ZoT1rfBfp0kJwL_fIfhognouylmfr3El_uo/s400/The+Dark+Side+Of+The+Moon.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="artwork-metadata__secondary-metadata" style="border: 0px; box-sizing: border-box; line-height: 22.05px; margin: 0px; outline: 0px; padding: 0px; text-align: start; vertical-align: baseline;">
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<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="border: 0px; box-sizing: border-box; line-height: 22.05px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Richard Mosse, <i>The Dark Side of the Moon</i></span><span style="line-height: 22.05px;">, 2011 </span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="line-height: 22.05px;">Digital al c-print, </span><span style="line-height: 22.05px;">102 x 152 cm</span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="line-height: 22.05px;">Galeria Leyendecker, Santa Cruz do Tenerife</span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="200" data-original-width="252" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXG8RQPzyorQ4TJpiOAcHb6uEEochQy1hHxI1PhvEp05ycmp-NOIhKRjnPl8zjUQ24PJdvvNnK4EOnIE2zE2xYWMBQ7jvqI0x8sJd0w2qNQuAvG3TY5ZrJxDPj2cMYSoA4WYCiA68ExXtv/s400/Lost+Fun+Zone.jpeg" style="margin-left: auto; margin-right: auto;" width="400" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">Richard Mos</span><span style="font-size: small;">se, <i>Lost Fun Zone</i></span></span><span style="font-family: "times" , "times new roman" , serif; font-size: small;">, 2012</span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><i><br /></i>Digital</span><span style="font-size: small;"> al-c print, 182.9 x 228.6cm<br />Galeria Leyendecker, Santa Cruz do Tenerife</span></span></td></tr>
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<span style="font-kerning: none; text-decoration: underline;">Sites consultados</span></div>
<ul>
<li style="font-family: "times new roman"; font-stretch: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: "times"; font-stretch: normal; line-height: normal;"><a href="https://www.youtube.com/watch?time_continue=4&v=RKO5LbOFjXg"><span style="font-family: "times new roman"; font-stretch: normal; line-height: normal;">https://www.youtube.com/watch?time_continue=4&v=RKO5LbOFjXg</span></a></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;"> (3 de dezembro de </span>2017)</li>
<li style="font-family: "times new roman"; font-stretch: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: "times"; font-stretch: normal; line-height: normal;"></span><span style="font-kerning: none; text-decoration: underline;"><a href="https://www.theguardian.com/artanddesign/2011/may/28/richard-mosse-infrared-photoscongo%C2%A0" target="_blank">https://www.theguardian.com/artanddesign/2011/may/28/richard-mosse-infrared-photoscongo </a></span>(3 de dezembro de 2017)</li>
<li style="font-family: "times new roman"; font-stretch: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: "times"; font-stretch: normal; line-height: normal;"><a href="http://enclavereview.org/richard-mosses-infra-conflict-art-and-the-regime-of-thedocumentary"><span style="font-family: "times new roman"; font-stretch: normal; line-height: normal;">http://enclavereview.org/richard-mosses-infra-conflict-art-and-the-regime-of-thedocumentary</span></a><a href="http://enclavereview.org/richard-mosses-infra-conflict-art-and-the-regime-of-thedocumentaryimage/"><span style="font-family: "times new roman"; font-stretch: normal; line-height: normal;">image/</span></a></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;"> (3 de dezembro de 2017)</span></li>
<li style="font-family: "times new roman"; font-stretch: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: "times"; font-stretch: normal; line-height: normal;"></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;"> <a href="https://www.theguardian.com/world/2011/may/12/48-women-raped-hour-congo"><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 238);">https://www.theguardian.com/world/2011/may/12/48-women-raped-hour-congo</span></a> (3 dedezembro de 2017)</span></li>
<li style="font-family: "times new roman"; font-stretch: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: "times"; font-stretch: normal; line-height: normal;"><a href="http://enclavereview.org/richard-mosses-infra-conflict-art-and-the-regime-of-thedocumentary-image/"><span style="font-family: "times new roman"; font-stretch: normal; line-height: normal;">http://enclavereview.org/richard-mosses-infra-conflict-art-and-the-regime-of-thedocumentary-image/</span></a></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;"> (3 de dezembro de 2017)</span></li>
<li style="font-family: "times new roman"; font-stretch: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: "times"; font-stretch: normal; line-height: normal;"><a href="https://www.canopycanopycanopy.com/contents/the_flash_made_flesh"><span style="font-family: "times new roman"; font-stretch: normal; line-height: normal;"> https://www.canopycanopycanopy.com/contents/the_flash_made_flesh</span></a></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;"> (7 de Janeiro de2018)</span></li>
<li style="font-family: "times new roman"; font-stretch: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: "times"; font-stretch: normal; line-height: normal;"><a href="https://www.thephoblographer.com/2013/01/30/what-is-kodak-aerochrome-a-beginnersguide-"><span style="font-family: "times new roman"; font-stretch: normal; line-height: normal;">https://www.thephoblographer.com/2013/01/30/what-is-kodak-aerochrome-a-beginnersguide-</span></a><a href="https://www.thephoblographer.com/2013/01/30/what-is-kodak-aerochrome-a-beginnersguide-to-the-confusion-of-lomochrome-purple/"><span style="font-family: "times new roman"; font-stretch: normal; line-height: normal;">to-the-confusion-of-lomochrome-purple/</span></a></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;"> (7 de Janeiro de 2018)</span></li>
<li style="font-family: "times new roman"; font-stretch: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: "times"; font-stretch: normal; line-height: normal;"><a href="https://www.artsy.net/artist/richard-mosse"><span style="font-family: "times new roman"; font-stretch: normal; line-height: normal;">https://www.artsy.net/artist/richard-mosse</span></a></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;"> ( 25 de Maio de 2018)</span></li>
<li style="font-family: "times new roman"; font-stretch: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: "times"; font-stretch: normal; line-height: normal;"><a href="http://www.richardmosse.com/"><span style="font-family: "times new roman"; font-stretch: normal; line-height: normal;">http://www.richardmosse.com</span></a></span><span style="-webkit-font-kerning: none; -webkit-text-stroke-color: rgb(0, 0, 0); color: black;"> (25 de Maio de 2018)</span></li>
</ul>
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<span style="font-kerning: none;">Disponibilizo também o trabalho que eu e a Teresa Maia, juntamente com outra colega, Lauren Sendles White, fizemos para a cadeira de Introdução às Artes Africanas, dada pelo Professor Carlos Garrido Castellano, a quem dedico este post por tudo o que nos ensinou e ajudou.</span></div>
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<span style="-webkit-font-kerning: none;">Rafaela Ramos de Faria, nº 147497</span></div>
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Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7120843639709768893.post-12729058076324742522018-05-24T19:31:00.000+01:002018-06-27T23:22:59.927+01:00Nancy Fouts <div style="text-align: justify;">
Olá a todos! No seguimento da aula de hoje, e da imagem que escolhi para apresentar, decidi fazer um post no blog sobre a Nancy Fouts, uma artista americana conhecida pelas suas esculturas improváveis, em que combina vários objectos desconectados entre si. Tem influências do Dadaísmo, da Pop-Art e do Surrealismo.</div>
<div style="text-align: justify;">
O que mais me atraiu nesta artista foi o facto de objectos díspares poderem unir-se para criar algo realmente espetacular. De facto, estas esculturas representam a forma improvável de a artista ver o mundo, o que se liga um pouco ao que falamos na aula de hoje — a arte pode mudar pensamentos e formas de ver o que nos rodeia.</div>
<div style="text-align: justify;">
Deixo-vos, pois, algumas obras da artista e se conseguirem, e quiserem, tentem explorar um pouco mais a sua obra no <a href="http://www.nancyfouts.com/">site</a> da artista.</div>
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<img alt="Baby nest" height="400" src="https://static1.squarespace.com/static/55892dc5e4b042906e1904a5/55ddb4efe4b08102f9e09e85/55b627f7e4b020d709a7d966/1458220842914/bellynancyfouts.jpg?format=750w" width="400" /> <i>Baby Nest</i><br />
<i><br /></i>
<img alt="Jesus with Wings" height="315" src="https://static1.squarespace.com/static/55892dc5e4b042906e1904a5/55b786f9e4b0d22bbc66fe4c/56e81c87e3214009cc5f84f8/1458219361839/JesusWithWings-NancyFouts.jpg?format=750w" width="400" /> <i>Jesus With Wings</i><br />
<i><br /></i>
<img alt="Madonna with Safeway bags" height="400" src="https://static1.squarespace.com/static/55892dc5e4b042906e1904a5/55b786d8e4b0d22bbc66fd78/56dd7a26ab48defc3579553a/1461008508381/MadonaWithSafewayBags-NancyFouts.jpg?format=300w" width="170" /> <i>Madonna with Safety bags</i><br />
<i><br /></i>
<img alt="Birth of Venus, without Venus (after Boticelli, Birth of Venus)" height="260" src="https://static1.squarespace.com/static/55892dc5e4b042906e1904a5/55ddb4a6e4b08102f9e09d78/56bdcf0959827e9e49b6154d/1470915440310/WithoutVenus-NancyFouts.jpg?format=750w" width="320" /> <i>Birth of Venus, without Venus (after Boticelli, Birth of Venus)</i><br />
<i><br /></i>
<img alt="Everlast" height="400" src="https://static1.squarespace.com/static/55892dc5e4b042906e1904a5/55ddb4a6e4b08102f9e09d78/56d568102fe131b4cc5b8ab8/1470915440889/Everlast-NancyFouts.jpg?format=500w" width="306" /> <i>Everlast</i><br />
<i><br /></i>
Espero ter-vos despertado algum interesse! Bom fim de semana!<br />
<br />
Rita GouveiaUnknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-63975961537330466492018-05-24T17:16:00.000+01:002018-06-27T21:12:31.078+01:00Exposição: "The Happy Show", de Stefan Sagmeister<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ4VWOJvmPUkjqOyOgfAtNvz_plNwDSYMbzpYfp6YKzJS_5EKqo7mrCeSDgHuYblQ84HsLhjV3L_ZSwPifXQbmSwCfFkiN0GEfEGsveJ9Xvjp2Pb86i2SZt7cofQxoRjnmFxCGya839PK5/s1600/BLOGUE+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="750" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ4VWOJvmPUkjqOyOgfAtNvz_plNwDSYMbzpYfp6YKzJS_5EKqo7mrCeSDgHuYblQ84HsLhjV3L_ZSwPifXQbmSwCfFkiN0GEfEGsveJ9Xvjp2Pb86i2SZt7cofQxoRjnmFxCGya839PK5/s320/BLOGUE+2.jpg" width="320" /></a></div>
<div style="text-align: justify;">
<span style="font-size: small;"><b style="text-align: justify;"><span style="font-family: "helvetica neue"; line-height: 150%;">Até ao dia 4 de
junho de 2018, aconselho a visitarem o “The Happy Show”, de Stefan Sagmeister,
no MAAT em Lisboa. A exposição centra-se no conceito de felicidade, de uma forma
provocatória, e aborda temas como a cultura de consumo, os mitos, tendências e
estereótipos contemporâneos, tudo apoiado por conclusões de psicólogos e antropólogos. </span></b></span><span style="font-size: small;"><b style="text-align: justify;"><span style="font-family: "helvetica neue"; line-height: 150%;"><span style="font-size: small;"><b style="text-align: justify;"><span style="font-family: "helvetica neue"; line-height: 150%;">Sagmeister levanta, pois, uma série de questões, tais como: </span></b></span>O que é a felicidade? Como a encontrar? E o que fazemos realmente
para ser felizes?</span></b></span></div>
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<br />
<span style="font-size: small;"><b><span style="font-family: "helvetica neue"; line-height: 150%;">"The Happy Show” resulta de uma intensa
pesquisa de mais de dez anos sobre o conceito de felicidade, e recorre ao vídeo,
a infografias, a esculturas e a instalações interativas, cheias de humor provocatório.</span></b><span style="font-family: "times"; line-height: 150%;"><o:p></o:p></span></span><br />
<div style="line-height: 150%; margin-bottom: 0.0001pt; margin-top: 0cm; text-align: justify;">
<span style="font-size: small;"><b><span style="font-family: "helvetica neue"; line-height: 150%;">Stefan Sagmeister é um
reconhecido designer internacional, e nesta exposição utiliza um design
gráfico extremamente emocional para se ligar aos visitantes, complexificando as fronteiras
entre o design e a arte, a ciência e a cultura quotidiana, e transgredindo as barreiras entre estes conceitos.</span></b></span><span style="font-family: "times"; font-size: 9pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;"><b><span style="line-height: 150%;"><span style="caret-color: rgb(0, 0, 0);">A exposição é organizada por </span></span></b></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;"><b><span style="line-height: 150%;"><span style="caret-color: rgb(0, 0, 0);">Claudia Gould (</span></span></b></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;"><b><span style="line-height: 150%;"><span style="caret-color: rgb(0, 0, 0);"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;"><b><span style="line-height: 150%;"><span style="caret-color: rgb(0, 0, 0);">ex-diretora do</span></span></b></span> Institute of Contemporany Art, da University of Pennsylvania, conhecido como ICA, e atual diretora da Helen Goldsmith
Menschel no Jewish Museum, em Nova Iorque) e coordenada pelo principal curador do ICA, Anthony Elms.</span></span></b></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><b>Mais informações</b></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 11.25pt; text-align: justify;">
<b style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><span style="color: blue; font-size: xx-small;"><a href="https://www.aiga.org/medalist-stefan-sagmeister" target="_blank"><span style="color: blue;">https://www.aiga.org/medalist-stefan-sagmeister </span></a> </span></b></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 11.25pt; text-align: justify;">
<b style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><a href="https://www.maat.pt/pt/exposicoes?f%5B0%5D=time_event%3A0" target="_blank"><span style="color: blue; font-size: xx-small;">https://www.maat.pt/pt/exposicoes?f%5B0%5D=time_event%3A0</span></a></b></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 11.25pt; text-align: justify;">
<a href="https://www.ted.com/talks/stefan_sagmeister_shares_happy_design?language=pt" style="font-family: "helvetica neue", arial, helvetica, sans-serif;" target="_blank"><b><span style="color: blue; font-size: xx-small;">https://www.ted.com/talks/stefan_sagmeister_shares_happy_design?language=pt </span></b></a></div>
<!--EndFragment--><br />
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<b style="font-family: "Times New Roman"; font-size: 12pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;">Rute Ventura nº146116</span></b></div>
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</style> Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-90530447858007085742018-05-21T22:32:00.001+01:002018-06-27T21:01:31.432+01:00Sally Nixon <div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Há algum tempo
encontrei-me com uma ilustração muito bonita de uma artista estadunidense e
gostaria de partilhar convosco o seu trabalho. Sally Nixon é
uma jovem ilustradora que, </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">num estilo realista,</span> revela momentos simples e comuns do quotidiano feminino.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Estas ilustrações são como janelas para a vida de uma mulher, convidando-nos a entrar no seu
mundo privado. Nixon cria imagens muito detalhadas do espaço onde estas personagens se encontram, em situações banais (</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">não idealizadas)</span>, lendo, cozinhando ou convivendo com outras mulheres.</span><o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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Não deixem de
visitar o <a href="http://sallynixon.com/" target="_blank">site</a> e o <a href="https://www.instagram.com/sallustration/" target="_blank">Instagram</a> desta artista.<o:p></o:p></div>
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<o:p> </o:p><span style="text-indent: 35.4pt;"> </span></div>
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Desejo-vos uma
boa semana! </div>
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<span style="text-indent: 35.4pt;">Diana Caneira nº 146209 </span></div>
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<o:p></o:p></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-36680875763436084232018-05-20T22:26:00.001+01:002018-06-27T20:51:54.804+01:00Cindy Sherman : Untitled<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6eTEJs8v05RhuCLcaNvG-ukHIzAtRaz7Ns0doFupp4JtUwg3z2w9VkKzv4jj9-KQQHf05gZU3fVnkXJCP_jF4_h8bIZKXRlEsspA98MLKpgwTMPRJmX7jGeo3m-UlkHtQvxms4WoAat1W/s1600/CindySherman+Film+Still+48+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="851" data-original-width="1085" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6eTEJs8v05RhuCLcaNvG-ukHIzAtRaz7Ns0doFupp4JtUwg3z2w9VkKzv4jj9-KQQHf05gZU3fVnkXJCP_jF4_h8bIZKXRlEsspA98MLKpgwTMPRJmX7jGeo3m-UlkHtQvxms4WoAat1W/s400/CindySherman+Film+Still+48+.jpg" width="400" /></a></div>
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<span style="font-size: x-small;"><span lang="EN-US" style="margin: 0px;"><span style="background-color: transparent; color: #231f20; display: inline; float: none; font-family: "proxima nova w01" , "arial" , sans-serif; font-size: 12.26px; font-style: normal; font-variant: normal; font-weight: 300; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Cindy Sherman, </span><i style="background-color: transparent; box-sizing: content-box; color: #231f20; font-family: "quot"; font-size: 12.26px; font-style: italic; font-variant: normal; font-weight: 300; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Untitled Film Still #48</i><span style="background-color: transparent; color: #231f20; display: inline; float: none; font-family: "proxima nova w01" , "arial" , sans-serif; font-size: 12.26px; font-style: normal; font-variant: normal; font-weight: 300; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">, 1979. Gelatin silver print, 8 x 10 inches (20.3 x 25.4 cm)</span></span></span></div>
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<span lang="EN-US" style="margin: 0px;"><span style="background-color: transparent; color: #231f20; display: inline; float: none; font-family: "proxima nova w01" , "arial" , sans-serif; font-size: 12.26px; font-variant: normal; letter-spacing: normal; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span lang="EN-US" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="background-color: transparent; color: #231f20; display: inline; float: none; font-family: "quot"; font-size: 12.26px; font-style: normal; font-variant: normal; font-weight: 300; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><a href="http://blog.thefineartblog.com/2012/04/cindy-sherman-radically-changed.html#axzz5G4FRGAZm" target="_blank">Fonte</a></span></span></span></span></div>
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<span style="font-size: large;">"Untitled" </span><br />
<a href="https://www.poetryfoundation.org/poets/mary-jo-bang">Mary Jo Bang</a> <br />
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<i>The story is written, the slip of a girl is loosed</i></div>
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And her life folds over. Against the cold, the waiting</div>
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For the what will happen. The next. Wonderful</div>
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Awful. The blonde in a chemical bath.</div>
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The story keeps on being written</div>
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As a woman who waits for never to happen</div>
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As an empty wall waits for light to form a bridge</div>
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And under it, a mass of open eyes,</div>
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Waiting for the awful eventual. Now?</div>
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And yes is what is said. Then here it is, the box</div>
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We live in where the crazy face of the day looks back</div>
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At the closed eye of the night looking in.</div>
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A boy of four comes in as an example</div>
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Of where the door of life is left open for a moment.</div>
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Time tumbles hour after hour until it's morning again.</div>
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Some glass is for looking through, some is for seeing back.</div>
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<i> Every outline is a cage one way or another.</i></div>
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</span><span style="font-size: x-small;">Mary Jo Bang, "Untitled" from Elegy. Copyright © 2007 by Mary Jo Bang. Reprinted by permission of Graywolf Press. <br /> Source: Elegy (Graywolf Press, 2007) </span></span></span><br />
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<b>Cindy Sherman</b> nasceu a 19 de Janeiro de 1954, em Glen Ridge, Nova Jérsia. Começou por aprender pintura na Universidade Estatal de Nova Iorque, e mais tarde, em 1970, trocou a pintura pela fotografia. Foi uma das figuras mais importantes da "Picture Generation" (1974-1984), e insere-se também nos movimentos do pós-modernismo e da arte conceptual. </div>
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Sherman criou a série <i>Untitled Film Stills</i> (1977-1980), composta por 69 fotografias a preto e branco. Nessas fotografias, ela posa como uma série de personagens fictícias, retratadas como se fossem cartazes para a promoção de filmes de Hollywood. Utilizando apenas aquilo que tinha no seu armário, desde roupas vintage a perucas e maquilhagem, a artista transformou-se em diferentes <i>personas</i>. </div>
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<b>Mary Jo Bang </b>nasceu a 22 de Outubro de 1946, em Waynesville, Missouri, tendo a sua poesia sido elogiada pela energia linguística, pelas imagens subtis e pela técnica inovadora. A artista explora preocupações filosóficas pós-modernas e é frequentemente apresentada como uma pioneira da poesia "híbrida". No início da carreira, estabelece uma série de diálogos poéticos com as artes visuais.</div>
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<b>A fotografia e o poema</b></div>
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Tanto a fotografia como o poema abordam o suspense e a espera, sugerindo uma narrativa implícita que cabe ao espetador recriar. </div>
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Quais são os clichés que Sherman representa nas suas fotografias?</div>
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Se isto fosse uma fotografia real, como mudaria a vossa interpretação dela? </div>
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Como é que os trabalhos de Cindy Sherman comentam Hollywood e a representação das mulheres em geral?</div>
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Questões retiradas desta <a href="https://www.slideshare.net/mjarry/cindy-sherman-2302678" target="_blank">hiperligação</a>.</div>
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<b>Sugestões de hiperligações a visitar</b></div>
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<div style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Times New Roman; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="background-color: transparent; color: #111111; display: inline; float: none; font-family: "roboto" , "arial" , sans-serif; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: x-small;"><a href="https://www.youtube.com/watch?v=kei22XS7qsI" target="_blank">Dodie Kazanjian on Cindy Sherman's Untitled Film Still #48 (1979)</a> </span></span></div>
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<span style="background-color: transparent; color: #111111; display: inline; float: none; font-family: "roboto" , "arial" , sans-serif; font-variant: normal; letter-spacing: normal; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: transparent; color: #111111; display: inline; float: none; font-family: "roboto" , "arial" , sans-serif; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: x-small;"><a href="https://www.youtube.com/watch?v=UXKNuWtXZ_U" target="_blank">Cindy Sherman - Nobody's Here But Me (1994)</a></span></span></span></div>
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<u><span style="color: #000032; font-family: "arial"; font-size: x-small;"><a href="http://icontent.tv/cindy-sherman/" target="_blank">Short films - Cindy Sherman</a><b></b></span></u></div>
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<b>Bibliografia</b></div>
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<a href="http://www.theartstory.org/artist-sherman-cindy-artworks.htm">http://www.theartstory.org/artist-sherman-cindy-artworks.htm</a></div>
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<a href="https://www.poetryfoundation.org/poets/mary-jo-bang">https://www.poetryfoundation.org/poets/mary-jo-bang</a></div>
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<a href="https://www.poetryfoundation.org/poems/58258/untitled-56d23c792f02c">https://www.poetryfoundation.org/poems/58258/untitled-56d23c792f02c</a></div>
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<a href="https://www.moma.org/collection/works/56994">https://www.moma.org/collection/works/56994</a></div>
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<u><span style="color: #000120;"></span></u><b></b><br /></div>
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<span style="margin: 0px;">Bruna Brissos </span></div>
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<span style="margin: 0px;">Rodrigo Melo </span></div>
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<span style="margin: 0px;">Sofia Paulo </span></div>
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Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7120843639709768893.post-78554134236536430332018-05-17T16:59:00.004+01:002018-06-27T20:35:18.393+01:00Caros colegas, encontrei um artigo que nos pode interessar!<br />
É sobre como Marcel Duchamp influenciou a arte contemporânea na China. Podem ler <a href="https://www.artsy.net/article/artsy-editorial-marcel-duchamp-impacted-contemporary-chinese-art?utm_medium=social&utm_source=facebook&utm_campaign=editorial">aqui</a> "How Marcel Duchamp Impacted Contemporary Chinese Art", da autoria de Sarah Forman, no site Artsy.<br />
Espero que gostem.<br />
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Mª Madalena Vieira nº50106Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-84479139354054912012018-05-13T23:39:00.002+01:002018-05-14T19:03:23.715+01:00Jenny Holzer e Walt Whitman em diálogo: autoridade e sociedade<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPv0z0PoefGwYXhTW7IlSuHL3eRzKqSrI7UP0YGMbPDqwluNm7l-kJPbL7LlzKkWwnyFszM0uPRmfhoP7m0zfbDhIXnwwnmr6h4vuPaglCNKXwKd6mxMZ5Qvfjf8HTuipcJ8jMj-gV1WQX/s1600/jenny_holzer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="448" data-original-width="302" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPv0z0PoefGwYXhTW7IlSuHL3eRzKqSrI7UP0YGMbPDqwluNm7l-kJPbL7LlzKkWwnyFszM0uPRmfhoP7m0zfbDhIXnwwnmr6h4vuPaglCNKXwKd6mxMZ5Qvfjf8HTuipcJ8jMj-gV1WQX/s320/jenny_holzer.jpg" width="215" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEadvasHOcTbaqfERwiDwk6t1zDkcKLeYcZbRTcqfRR9GLzaPSBbpMQQcnmEF2YyOFPGFcFcGcN5waefoErRPZkTZ34LyGYDo7WXs4VR8VRO-PCg4a6nCu8bl39weQo20zmle_IrWx7VBH/s1600/whitman-w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEadvasHOcTbaqfERwiDwk6t1zDkcKLeYcZbRTcqfRR9GLzaPSBbpMQQcnmEF2YyOFPGFcFcGcN5waefoErRPZkTZ34LyGYDo7WXs4VR8VRO-PCg4a6nCu8bl39weQo20zmle_IrWx7VBH/s320/whitman-w.jpg" width="240" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b style="-webkit-text-stroke-width: initial;">Jenny Holzer</b><span style="-webkit-text-stroke-width: initial;"> é uma artista conceptual conhecida pelas suas obras de crítica e comentário sociopolítico.</span><i style="-webkit-text-stroke-width: initial;"> Inflammatory Essays</i><span style="-webkit-text-stroke-width: initial;"> são uma série de cartazes produzidos e afixados anonimamente pela artista na década de 1970-80, em Nova Iorque, que exploram temas descritos por Holzer como “hot, flaming e nasty”, de modo a consciencializar as massas populares acerca de várias realidades ideológica e politicamente perigosas, ainda que existentes e recorrentes.</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> Os<i> Inflammatory essays</i> combinam elementos visuais com mensagens de texto, estando a formatação e as caraterísticas do próprio objeto de arte ou do <i>medium</i> ao serviço do conteúdo da mensagem: desde a escolha rígida do número de palavras, à cor e ao tipo de letra. As mensagens escritas são extremamente irónicas e, recorrendo à intertextualidade, desconstroem ideias políticas extremas e princípios dogmáticos e religiosos, ou abordam ansiedades da psique individual. </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">A obra escolhida para o nosso projeto de pesquisa elabora a desconstrução irónica dos princípios e das ideias desequilibradas de uma voz autoritária, apresentando as suas técnicas de manipulação social autocráticas. A mensagem aponta também para as massas populares ou o coletivo, que se deixam cegar, enganar, ou adormecer com demasiada facilidade. São estes os temas principais que constituem esta obra em particular, e que são igualmente desenvolvidos por <b>Walt Whitman</b>, no poema "To the States," ainda que num contexto histórico anterior ao da artista em questão.</span></span></div>
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<span style="-webkit-text-stroke-width: initial; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">To the States,</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>To Identify the 16th, 17th, or 18th Presidentiad.</i></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br />Why reclining, interrogating? why myself and all drowsing?<br />What deepening twilight—scum floating atop of the waters,<br />Who are they as bats and night-dogs askant in the capitol?<br />What a filthy Presidentiad! (O South, your torrid suns! O North, your arctic freezings!)<br />Are those really Congressmen? are those the great Judges? is that the President?<br />Then I will sleep awhile yet, for I see that these States sleep, for reasons;<br />(With gathering murk, with muttering thunder and lambent shoots we all duly awake,<br />South, North, East, West, inland and seaboard, we will surely awake.)</span></div>
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<span style="-webkit-font-kerning: none;">Bibliografia</span></div>
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<span style="-webkit-font-kerning: none;">https://www.poetryfoundation.org/poems/51868/to-the-states</span></div>
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http://www.tate.org.uk/art/artworks/holzer-inflammatory-essays-65434/10</div>
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http://www.theartstory.org/artist-holzer-jenny.htm</div>
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Francisca Matos</div>
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Mandala De La Riviere</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7120843639709768893.post-50036921178925029992018-05-07T19:12:00.000+01:002018-05-14T19:03:13.521+01:00Barbara Kruger & Ella Wheeler Wilcox<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDFS25tEi6YKNKiGSHk-C8LKre9rvmYRbVh-w68C9uo_KRXR0e23Vz_q_i73DLUmrskOdColidPO4oHriDmOp1hrE0FD0Jm338gPc9ZiHWRbGl_jCYo4NG6K3Z7DQZvz0E9okBa8SWM2G6/s1600/hhj.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="157" data-original-width="300" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDFS25tEi6YKNKiGSHk-C8LKre9rvmYRbVh-w68C9uo_KRXR0e23Vz_q_i73DLUmrskOdColidPO4oHriDmOp1hrE0FD0Jm338gPc9ZiHWRbGl_jCYo4NG6K3Z7DQZvz0E9okBa8SWM2G6/s640/hhj.jpg" width="640" /></a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">Untitled (We Don't Need Another Hero) </span></i><span lang="EN-US" style="mso-ansi-language: EN-US;">(1987), Barbara Kruger, </span></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small; mso-ansi-language: EN-US;">Photoscreenprint
on vinyl (276.5 × 531.3cm)<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="http://collection.whitney.org/object/34103">Fonte</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small; mso-ansi-language: EN-US;">"Woman and War"</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small; mso-ansi-language: EN-US;">“O men,
wise men, superior beings, say,<br />
Is there no substitute for war in this<br />
Great age and era? If you answer ‘No’<br />
Then let us rear our children to be wolves<br />
And teach them from the cradle how to kill.<br />
</span><span style="font-size: small;">Why should we women take waste our time and work<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small; mso-ansi-language: EN-US;">In talking
peace, when men declare for war?” <o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: small; mso-ansi-language: EN-US;">Ella
Wheeler Wilcox<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><b><span lang="EN-US">Barbara Kruger (1945-)<o:p></o:p></span></b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Barbara Kruger é uma artista conceptual estado-unidense que
nasceu em Newark, New Jersey em 1945. Usa como inspiração o seu background em
Design e grande parte dos suas obras são fotografias a preto e branco de
grandes dimensões nas quais se sobrepõem letras brancas numa moldura vermelha.
A artista combina fotografias com textos que questionam e desafiam o espetador, explorando temas como a construção cultural do poder, a identidade e a sexualidade.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><b>Ella Wheeler Wilcox
(1850-1919)<o:p></o:p></b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Ella Wheeler Wilcox foi uma autora e poeta estado-unidense nascida
em 1850 em Johnstown, Winsconsin. Iniciou a sua carreira cedo, começando a
escrever poesia desde muito nova. Um dos seus poemas mais conhecidos é<i> </i>"Solitude", que foi posteriormente
integrado na antologia <i>Poems
of Passion.<o:p></o:p></i></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><b><span lang="EN-US">Relação entre os dois textos<i><o:p></o:p></i></span></b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">O diálogo entre a imagem de Barbara Kruger e o poema "Woman and War" baseia-se no facto de ambos os textos ironizarem a dicotomia masculino/feminino, criticarem as construções da masculinidade e os discursos sobre a supremacia masculina. </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Bibliografia</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">https://medium.com/@aaliacoovadia/postmodern-features-explained-through-we-dont-need-another-hero-by-barbara-kruger-b7a1668fc683</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">http://arh481sp09.wikifoundry.com/page/Barbara+Kruger</span></span><br />
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">http://www.ellawheelerwilcox.org/poems/pwomanwa.htm </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><span lang="EN-GB" style="line-height: 107%;"><o:p></o:p></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">https://www.thoughtco.com/poems-of-ella-wheeler-wilcox-4015224<br /><span lang="EN-GB" style="line-height: 107%;"><o:p></o:p></span></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><span lang="EN-GB"><br /></span></span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"> </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Ana Catarina Nunes</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Leonardo Fernandes</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Rita Gouveia</span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><br /></span></span>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7120843639709768893.post-12144145667111416812018-05-03T20:17:00.002+01:002018-06-27T20:31:47.213+01:00Gioconda e Warhol<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Cambria; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Tendo em conta que recentemente fal<i>á</i>mos
em aula de Andy Warhol, venho partilhar uma das minhas obras favoritas do
artista, integrada no período em que o artista explora o conceito de série
estruturada por uma grelha. Datada de c.1964, a obra consiste numa repetição da
popularíssima <i>Gioconda</i>, de Leonardo Da Vinci.</span></div>
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<span style="font-family: Cambria; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Tendo em conta que na época Warhol já
realizava obras muito semelhantes à apresentada, isto é, com o recurso à
repetição de imagens, esta opção não constitui propriamente uma novidade, o que
vale a pena destacar é o titulo atribuído à obra<i> — Thirty is better than One
—</i>, característico da ironia da Pop Art. É interessante ainda notar como a
associação deste título à obra altera completamente a leitura que fazemos da
mesma. </span></div>
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<span style="font-family: Cambria; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Aliás, esta não é a única obra de Warhol que
explora a repetição desta imagem icónica, pois o artista produziu ainda <i>Double
Mona Lisa</i>, <i>Colored Mona Lisa</i> <i>e Mona Lisa Four Times.</i></span></div>
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBZUWE0EtJcpCjSoPxMV6NQP_KhRRS6Zg63owSMiVePPsBOd2-YXnzgWdPaetYvETF05Bt9Uetz-gd8USCkMiNMAlmlyT2TiFdhCyh7t2bnSENPkZ1cfiJYCNtfMb9BdtreD37SSpCozdv/s1600/30monalisas-469x624.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="624" data-original-width="469" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBZUWE0EtJcpCjSoPxMV6NQP_KhRRS6Zg63owSMiVePPsBOd2-YXnzgWdPaetYvETF05Bt9Uetz-gd8USCkMiNMAlmlyT2TiFdhCyh7t2bnSENPkZ1cfiJYCNtfMb9BdtreD37SSpCozdv/s640/30monalisas-469x624.jpg" width="480" /></a></span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: xx-small;">Andy Warhol (1928-1987)</span></span></span></span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: xx-small;"><i>Thirty Are Better Than One</i>, c.1964 </span></span></span></span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"> <i>Silkscreen</i>, 110 x 94.5 polegadas</span></span>
</div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">Telmo Alves</span></span><br />
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">Nº 146 086</span></span>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7120843639709768893.post-36672141834078831642018-04-30T19:47:00.003+01:002018-06-27T20:15:41.034+01:00Eric Fischl e Clarice Lispector<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyoJA1_5X7NQloYd7cViEy2BFCYrsErXQl47Vgl1n2swYknzFkWvGf-IQxNPr73cKoT_ckyOnjPNC0akefA8BdKG-V5ixNOH2tcQE_w-F65KjsYvNjOjpzDWo-rfmMiUm4QAFfpwbqp5fm/s1600/fischl_haircut.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="885" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyoJA1_5X7NQloYd7cViEy2BFCYrsErXQl47Vgl1n2swYknzFkWvGf-IQxNPr73cKoT_ckyOnjPNC0akefA8BdKG-V5ixNOH2tcQE_w-F65KjsYvNjOjpzDWo-rfmMiUm4QAFfpwbqp5fm/s320/fischl_haircut.jpg" width="262" /></a></span></span></div>
<div style="line-height: 150%; text-align: center;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><i><span lang="EN-US" style="font-family: "times new roman";"><b>Haircut</b></span></i><span lang="EN-US" style="font-family: "times new roman";">
(1985), Eric Fischl, Oil on Linen (264.16 x 213.36 cm)<br /> </span><a href="https://www.thebroad.org/art/eric-fischl/haircut"><span style="font-family: "times new roman";">Fonte</span></a></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><b><span lang="EN-US" style="font-family: "times new roman"; mso-ansi-language: EN-US;">"A
Perfeição"</span></b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;">O
que me tranquiliza<br />
é que tudo o que existe,<br />
existe com uma</span><span style="color: black; font-family: "times new roman"; font-size: small;">
precisão a</span><span style="font-family: "times new roman"; font-size: small;">bsoluta.<br />
O que for do tamanho de uma cabeça de alfinete<br />
não transborda nem uma fração de milímetro<br />
além do tamanho de uma cabeça de alfinete.<br />
Tudo o que existe é de uma grande exatidão.<br />
Pena é que a maior parte do que existe<br />
com essa exatidão<br />
nos é tecnicamente invisível.<br />
O bom é que a verdade chega a nós<br />
como um sentido secreto das coisas.<br />
Nós terminamos </span><span style="color: black; font-family: "times new roman"; font-size: small;">adivinhando</span><span style="font-family: "times new roman"; font-size: small;">, confusos,<br />
a perfeição. </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;">Clarice Lispector<o:p></o:p></span></span></div>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
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<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><b><span style="font-family: "times new roman";">Eric Fischl (1948-)<o:p></o:p></span></b></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><br /></span></span>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;"><span style="mso-tab-count: 1;"> </span>Eric
Fischl é um pintor e escultor neo-expressionista que nasceu em 1948, em Long
Island, nos subúrbios de Nova Iorque. As temáticas mais recorrentes na sua obras
estão ligadas à realidade social e económica onde este cresceu, explorando a
obsessão da classe média pela imagem e pela sexualidade, presente através da
exploração da nudez e do <i>voyeurismo, </i>na obra em análise. Fischl faz
parte da transição da modernidade para a pós-modernidade, sendo isto
constatável no tamanho dos seus quadros, que são megalómanos, na intensidade
das cores e nas temáticas que aborda.</span><span style="font-size: small;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><b><span style="font-family: "times new roman";">Clarice Lispector (1920-1977)<o:p></o:p></span></b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;"><span style="mso-tab-count: 1;"> </span>Clarice
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brasileiras mais importantes do século XX, devido à sua escrita peculiar,
simbólica e inovadora. Segundo Jorge Carrión, escritor e crítico literário espanhol,
a obra de Lispector é “corporal, totalmente vital e sanguínea”, embora esteja
coalhada de metáforas e mistério.</span><span style="font-size: small;"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;"><span style="mso-tab-count: 1;"> </span>Decidimos
relacionar estas duas obras porque ambas problematizam a ideia de perfeição.
Em<i> Haircut </i>vemos uma mulher nua, agachada e com uma tesoura na mão,
prestes a depilar os pelos púbicos, na casa de banho. Esta figura encontra-se
numa grelha de feixes de luz projetados pela persiana, “presa” no limiar entre o
público e o privado. De facto, o confronto entre as curvas da mulher e a
geometria plana dos feixes de luz retos acentua esta fronteira e sugere que as
convenções sociais de beleza são grelhas que moldam o corpo individual.</span><span style="font-size: small;"><o:p></o:p></span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
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</span></span><!--StartFragment--><!--EndFragment--><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;"><span style="mso-tab-count: 1;"> </span></span><span style="font-family: "times new roman"; font-size: small;"><span style="mso-tab-count: 1;"><span style="font-family: "times new roman";">Para o sujeito
poético de “A Perfeição” não há respostas nem certezas</span></span>, como atestas os seguintes versos: “Nós
terminamos adivinhando, confusos, / a perfeição”. No entanto, o ser
humano tenta alcançar a perfeição; tenta defini-la e recriá-la em si mesmo, tal
como a mulher representada na pintura, que recorre à depilação para transformar
fisicamente o seu corpo. Será em torno da temática da perfeição idealizada que
iremos analisar e estabelecer um diálogo entre as duas obras. </span><span style="font-size: small;"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;"><span style="font-size: xx-small;"><br /></span></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><b><span style="color: black; font-family: "times new roman"; mso-bidi-font-family: Arial;">Web
Links e Referências</span></b><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><span class="LigaodeInternet"><span style="color: black; font-family: "times new roman"; mso-bidi-font-family: Arial;"><a href="https://www.thebroad.org/art/eric-fischl/haircut">https://www.thebroad.org/art/eric-fischl/haircut</a></span></span></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><u><span style="font-family: "times new roman";"><span style="font-size: xx-small;"><a href="https://claricelispectorims.com.br/blog/clarice-lispector-por-jorge-carrion/">https://claricelispectorims.com.br/blog/clarice-lispector-por-jorge-carrion/</a></span></span></u></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;"><span style="font-size: xx-small;"><br /></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;"><b>A saber</b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: "times new roman"; font-size: small;"> Pode considerar-se que a utilização da grelha na obra alude à estratégia usada por pioneiros da fotografia como Étienne-Jules Marey, nas suas composições com corpos humanos em movimento.<b><i><br /></i></b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;"><u><span style="font-family: "times new roman";"><span style="font-size: xx-small;"><br /></span></span></u></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Alberta Nunes</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Luís Marques</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small;">Rute Ventura</span></span><br />
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